Series as multipart pieces with regulated changes

系列作为多部分的作品，具有规范的变化

• 批准号: AH/H034439/1
• 负责人: James Saunders
• 金额: $ 3.94万
• 依托单位: Bath Spa University
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2010
• 资助国家: 英国
• 起止时间: 2010 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH034439%2F1
• 关键词: Series; multipart; pieces; regulated; changes

The research aims to establish a set of principles which govern the structure and application of multipart series in music and visual art. The idea of a series in this context is best defined by Sol LeWitt, who states 'Serial compositions are multipart pieces with regulated changes. The differences between the parts are the subject of the composition. If some parts remain constant it is to punctuate the changes ...The autonomous parts are units, rows, sets, or any logical division that would be read as a complete thought. The series would be read by the viewer in a linear or narrative manner even though in its final form many of these sets would be operating simultaneously, making comprehension difficult.' This approach has become central to various bodies of visual art since the 1960s, particularly monochrome and colour-field painting, some conceptual art, and minimalism in its various forms. Within music, it is most evident in the work of the central European and American Wandelweiser group of composers.Founded by Antoine Beuger and Burkhard Schlothauer in 1992, Wandelweiser have defined a clear aesthetic whose resonance has been critical to a continued exploration of new compositional ground internationally over the past decade. Their work is distinctive and makes few compromises: it deals with extremes and archetypes. Schlothauer summarises the characteristics of the Wandelweiser composers' work succinctly in his essay Etwas über Wandelweiser , saying that their music is generally very quiet and that silence has a large share of the often extended performance durations. Generally there is little conventional drama and the presentation of sound material is very clear: harmony, rhythm and melody play either a subordinate role or none at all. These composers also make frequent reference to the work of visual artists. In Beuger's work for example, the series [first - fourth] music for marcia hafif (1994-2002) draws on the serial structure of Hafif's monochromes. Most of Hafif's work is in series, some complete and some ongoing. For example, her Extended Gray Scale (1972-3) comprised 105 ordered grey paintings and was complete when she felt she was unable to distinguish a new shade of grey. Other artists whose work underpins this study include Sol LeWitt, whose series of wall drawings have informed my own compositional approach to interlinked pieces, and Carl Andre, whose floor sculptures represent, alongside Dan Flavin's neon light work, perhaps the most consistent extended application of modularity. Through examining the work of these composers and artists, the aim of the project is to establish a set of principles that are common to their serial work. These will be articulated through a journal article and edited volume of Contemporary Music Review, focusing on the Wandelweiser composers (the first major study in English), and a series of composition projects resulting in pieces for Basel Sinfonietta, [rout], and Apartment House. These compositions will focus on the further expansion of my existing series, and the development of new ones, both of which will be informed by the parallel musicological research. Specifically, the criteria determined by the analysis of other work will shape some of my decision-making when planning new multipart work: it is the nature of this mode of working that decisions made at the macro-level have major ramifications for later development of sub-pieces. The two ensemble pieces will be related as part of a new series that emerges from the principles determined through the contextual research, and which is informed by my current series and earlier modular piece #[unassigned]. The research will therefore benefit practitioners, musicologists and art theorists with an interest in serial and modular structures, and audiences seeking to engage with these concepts and work. The two parts of the project are intrinsically linked, with my practice-led and musicological research being interdependent.

该研究旨在建立一套原则，指导音乐和视觉艺术中多部分系列的结构和应用。在这种情况下，系列的概念最好由索尔·勒维特定义，他说，系列作品是有规律变化的多部分作品。各部分之间的差异是作文的主题。如果有些部分保持不变，那就是为了强调变化...这些独立的部分是单位、行、集合或任何可以被解读为一个完整思想的逻辑划分。该系列将由观众阅读线性或叙事的方式，即使在其最终形式的许多这些集将同时运作，使理解困难。自20世纪60年代以来，这种方法已经成为各种视觉艺术的核心，特别是单色和色场绘画，一些概念艺术和各种形式的极简主义。在音乐领域，这一点在中欧和美洲的旺德尔韦瑟作曲家群体中最为明显。旺德尔韦瑟于1992年由Antoine Beuger和Burkhard Schlothauer创立，他们定义了一种清晰的美学，在过去十年中，这种共鸣对国际上不断探索新的作曲领域至关重要。他们的作品与众不同，几乎没有妥协：它涉及极端和原型。施洛陶尔在他的文章《Etwas über Wandelweiser》中简洁地总结了Wandelweiser作曲家作品的特点，他说他们的音乐通常非常安静，并且沉默在通常延长的演奏时间中占有很大的份额。一般来说，几乎没有传统的戏剧，声音材料的呈现非常清楚：和谐，节奏和旋律要么扮演次要角色，要么根本没有。这些作曲家也经常提到视觉艺术家的作品。例如，在Beuger的作品中，为Marcia Hafif（1994-2002）创作的系列[第一-第四]音乐借鉴了Hafif单色音乐的系列结构。哈菲夫的大部分工作是系列的，有些已经完成，有些正在进行中。例如，她的扩展灰度（1972年至1973年）包括105个有序的灰色绘画，当她觉得她无法区分一个新的灰色阴影时，就完成了。其他艺术家的作品支撑了这项研究，包括索尔·勒维特，他的一系列壁画告诉我自己的构图方法相互关联的作品，卡尔安德烈，他的地板雕塑代表，除了丹·弗莱文的氖灯作品，也许是最一致的扩展应用模块化。 通过研究这些作曲家和艺术家的作品，该项目的目的是建立一套共同的原则，他们的系列工作。这些将通过期刊文章和当代音乐评论的编辑量进行阐述，重点是Wandelweiser作曲家（英语的第一个主要研究），以及一系列作曲项目，为巴塞尔小交响乐团，[rout]和公寓楼创作作品。这些作品将集中在我现有系列的进一步扩展，以及新系列的开发上，这两者都将通过平行的音乐学研究来了解。具体来说，在规划新的多部分作品时，通过分析其他作品确定的标准将塑造我的一些决策：这种工作模式的本质是，在宏观层面上做出的决策对后续子作品的发展具有重大影响。这两个合奏作品将作为一个新系列的一部分，这个系列是从通过上下文研究确定的原则中产生的，并且是由我目前的系列和早期的模块作品#[未分配]所告知的。因此，这项研究将有利于从业者，音乐学家和艺术理论家对序列和模块化结构感兴趣，以及寻求参与这些概念和工作的观众。该项目的两个部分有着内在的联系，我的实践主导和音乐学研究是相互依存的。