形成开放形式:以厄尔·布朗的诺瓦拉为例

IF 0.4 2区艺术学 0 MUSIC

Music Theory Online Pub Date : 2020-09-01 DOI:10.30535/MTO.26.3.1

Drake Andersen

{"title":"形成开放形式:以厄尔·布朗的诺瓦拉为例","authors":"Drake Andersen","doi":"10.30535/MTO.26.3.1","DOIUrl":null,"url":null,"abstract":"Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time. DOI: 10.30535/mto.26.3.1 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"(Per)forming Open Form: A Case Study with Earle Brown’s Novara\",\"authors\":\"Drake Andersen\",\"doi\":\"10.30535/MTO.26.3.1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time. DOI: 10.30535/mto.26.3.1 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory\",\"PeriodicalId\":44918,\"journal\":{\"name\":\"Music Theory Online\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Theory Online\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/MTO.26.3.1\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.26.3.1","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}

引用次数: 1

摘要

大多数关于厄尔·布朗的开放形式作品的叙述都集中在乐谱中个别事件的符号特征上。然而，指挥在确保演出的连续性和形式连贯性方面的作用很少得到承认。在这篇文章中，我分析了布朗指挥他的作品Novara(1962)的三场演出的录音，两次是1966年与Virtuoso Ensemble合作，一次是1974年与一群荷兰音乐家合作。指挥对每场演出的干预体现了一系列的策略，用于暗示结构功能和组织演出时间。演奏中的音乐过程的多样性，以及表演之间的多样性，反过来又与乔纳森·克雷默(Jonathan Kramer)的多重定向线性时间概念相似。DOI: 10.30535/mto.26.3.1卷26，编号3,2020年9月版权所有©2020音乐理论学会

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文本刊更多论文

(Per)forming Open Form: A Case Study with Earle Brown’s Novara

Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time. DOI: 10.30535/mto.26.3.1 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

Music Theory Online MUSIC-

CiteScore

1.70

自引率

25.00%

发文量

审稿时长

42 weeks

期刊介绍： Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.