在休戴维斯的现场电子音乐器乐,解释学,和本体论的不确定性

IF 0.3 2区 艺术学 0 MUSIC
James Mooney, Owen Green, Sean Williams
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引用次数: 0

摘要

虽然许多先前的研究已经将不确定性作为一种作曲技术进行了探索,但在本文中,我们不仅从作曲家的角度,而且从表演者和档案研究者的角度探讨了不确定性的概念,并借鉴了我们研究和表演英国实验音乐家休·戴维斯(1943-2005)的几首现场电子音乐作品的经验。我们的核心论点是,在作曲的不确定性的表面之下——也就是说,在作曲家用来规定不确定音乐结果的符号和指示之外——存在着进一步的“嵌套”的不确定性层面,它们通过档案研究、排练和表演的行为显示出来。“乐器”的不确定性与用于演奏音乐的乐器有关,特别是乐器的边界(由表演者或观众)是模糊的、流动的、可重构的或不可定义的,或者乐器的行为在演奏的那一刻是不可预测的或不可控制的。“解释学”的不确定性涉及作曲家的意图,以及通过档案和表演研究的过程揭示这些意图的方式,这些意图在文件(包括但不限于乐谱)和材料配置(包括用于演奏音乐的乐器和设备)中不完整、含糊、矛盾和/或分散地表现出来。“本体论”的不确定性是由不确定(在研究人员的一部分)关于作品的本体论状态来表示的。通过分享这些观点,我们的目标是超越作曲家的界限,促进对不确定性“来世”的学术理解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music
While many previous studies have explored indeterminacy as a compositional technique, in this article we explore the concept of indeterminacy, not only from the perspective of the composer, but also from the perspectives of performer and archival researcher, drawing upon our experiences of researching and performing several live electronic music compositions by British experimental musician Hugh Davies (1943–2005). Our core argument is that beneath the surface level of composed indeterminacy—that is, beyond the notations and instructions that a composer employs to prescribe indeterminate musical results—there exist further ‘nested’ planes of indeterminacy that reveal themselves through the acts of archival research, rehearsal and performance. ‘Instrumental’ indeterminacy has to do with the instruments that are used to perform the music, and specifically to situations where the boundaries of the instruments are experienced (by performers or audience members) as ambiguous, fluid, reconfigurable, or undefinable, or where the behaviour of the instrument(s) is unpredictable or uncontrollable in the moment of performance. ‘Hermeneutic’ indeterminacy concerns the composer’s intentions and the ways in which these are revealed, through the processes of archival and performance research, to be incompletely, ambiguously, contradictorily, and/or diffusely represented in documents (including but not limited to scores) and material configurations (including the instruments and apparatus used to perform the music). ‘Ontological’ indeterminacy is signalled by uncertainty (on the part of the researchers) about the ontological status of the piece to be performed. By sharing these perspectives, we aim to contribute to scholarly understandings of the ‘afterlives’ of indeterminacy, beyond the circumscriptions of a composer.
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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