Series as multipart pieces with regulated changes

这项研究旨在建立一套指导音乐和视觉艺术中多声部系列剧的结构和应用的原则。索尔·勒维特对这一背景下的系列剧的概念做出了最好的定义，他指出，系列作品是有规则变化的多声部作品。部件之间的差异是作曲的主题。如果某些部件保持不变，它就是标点符号……独立的部件是单位、行、集合或任何可能被解读为完整思想的逻辑分割。观众将以线性或叙事的方式阅读系列作品，尽管在其最终形式中，许多这些集合将同时运行，从而使理解变得困难。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，特别是单色和彩色领域的绘画，一些概念艺术，以及各种形式的极简主义。在音乐方面，这一点在中欧和中美Wandelweiser作曲家的作品中最为明显。Wandelweiser由Antoine Beuger和Burkhard Schlothauer于1992年创立，它定义了一种明确的美学，这种共鸣对过去十年来在国际上继续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：它处理极端和原型。Schlothauer在他的文章etwasüber Wandelweiser中简洁地总结了Wandelweiser作曲家的工作特点，他说，他们的音乐通常非常安静，沉默在经常延长的演奏持续时间中占很大比例。一般来说，很少有传统的戏剧，声音材料的呈现非常清楚：和声、节奏和旋律要么从属于一个角色，要么根本不起作用。这些作曲家还经常提到视觉艺术家的作品。例如，在比格的作品中，为玛西娅·哈菲夫(1994-2002)创作的系列[第一-第四]音乐借鉴了哈菲夫单色音乐的系列结构。哈菲夫的大部分工作都是连续进行的，有些是完成的，有些正在进行。例如，她的扩展灰度表(1972-3)包括105幅有序的灰色画作，当她觉得自己无法区分新的灰色色调时，她的画是完整的。支持这项研究的其他艺术家包括索尔·勒维特(Sol LeWitt)和卡尔·安德烈(Carl Andre)，他的一系列壁画启发了我对相互关联作品的构图方法，他的地板雕塑与丹·弗拉文(Dan Flavin)的霓虹灯作品一起，可能是模块化最一致的延伸应用。通过考察这些作曲家和艺术家的作品，该项目的目的是建立一套他们的系列作品共同的原则。这些将通过一篇期刊文章和编辑的当代音乐评论卷来阐述，重点是Wandelweiser作曲家(第一次主要的英语研究)，以及一系列作曲项目，为巴塞尔小交响乐团、[Rot]和公寓之家创作了作品。这些作品将集中在我现有系列的进一步扩展和新系列的开发上，这两个方面都将由平行的音乐学研究提供信息。具体地说，通过对其他工作的分析确定的标准将塑造我在规划新的多部分工作时的一些决策：正是这种工作模式的性质，即在宏观一级所做的决定对后来的分部分的发展具有重大影响。这两个合奏作品将作为新系列的一部分相关，这个新系列是从背景研究确定的原则中出现的，并由我目前的系列和之前的模块作品#[未分配]提供信息。因此，这项研究将有益于对连续和模块化结构感兴趣的实践者、音乐学家和艺术理论家，以及寻求参与这些概念和工作的观众。这个项目的两个部分是内在联系的，我的实践指导和音乐学研究是相互依存的。

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.