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The Garden of Forking Paths: material-indeterminacy driving open-form composition for clarinets

岔路花园：材料的不确定性驱动单簧管的开放式作曲

基本信息

批准号：
AH/S006893/1
负责人：
Scott McLaughlin
金额：
$ 25.66万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2019
资助国家：
英国
起止时间：
2019 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FS006893%2F1
关键词：
Garden Forking Paths material indeterminacy

项目摘要

In a 2018 talk on Practice Research, composer Liza Lim asked playfully 'when I play the cello, how do I know it's not playing me?' She refers to the growing body of research (from music, philosophy, psychology etc.) around the ecology of music, and how an instrument is like a prosthetic limb (Bateson 1972) that extends the "musicking" mind (Small 1998) through the body and into the world. Lim's statement paraphrases Michel de Montaigne asking in 1580 "how do I know when I play with my cat that it's not playing with me?", crucially replacing the living cat with an inert and lifeless cello, here elevated to "living" status as a thought-experiment. For me, this is interesting not because cellos might actually have minds, but because following-through on the question "what is the cello's agency in the world?" allows all sorts of interesting and creative possibilities for composition. For example, "what sound does the cello "want" to make?" can be answered by playing it in the most neutral way possible, simply putting energy into the cello with the bow to observe what sound comes out. Trying different ways of energising the cello soon reveals its preferences. By limiting the imposition of human musical taste on it, the cello's own music emerges. The next step is to ask how can the instrument "play" the player?My project follows-through on that question, radically extending it to ask how can I compose music where the instrument leads the player, ultimately allowing the instrument to define how the music unfolds in performance. Unlike the largely stable cello, this project focusses on the clarinet, an inherently unstable instrument which, through years of training, a player learns to control. When we examine what sounds the clarinet "wants" to make, we find a bewildering array of noise-sounds and "multiphonic" timbres; where instead of one note, there are multiple simultaneously competing notes, all interfering to create a complex and ambiguous soundworld in delicate balance. These kinds of sounds in themselves are now ubiquitous in new-music and experimental music, with composers using them in different ways across a continuum from uncritical "sound effects" through to a careful and nuanced manipulation of the sounds. However, for all this familiarity with unstable and non-standard sounds, the dominant paradigm is that of control, wherein the composer defines a sound and the performer strives to produce it accurately every time. My project takes the other path to ask what compositional possibilities are opened-up if we replace control with "support"? If rather than defining specific sounds, the composer's role is to create a system where the player is always responding to the preferences of the instrument, allowing it lead her through the labyrinth of its sonic complexities. The primary role of the player here is energising the instrument and allowing the contingent and unstable sounds to dominate, using their technical skills to support the delicate balance of complex sounds and allowing the instrument to lead. For example, this can be achieved by directing the player to focus on bringing out the lesser of two competing pitches in any given sound: like a spelunker exploring a complex cave system, avoiding the path most travelled may lead one in a circle or it may open up whole new unexplored areas. The project's objective is to find and disseminate compositional strategies that constrain the infinite possibilities into meaningful-and novel-forms without damping the agency and physical materiality of the instrument. Through working closely with specialist clarinettists, an acoustician, and graphic designer. I will compose multiple pieces for one and two clarinets that outline a variety of strategies and notations. All of which is documented rigorously and continuously online to maximise public engagement.

在2018年的一次关于实践研究的演讲中，作曲家Liza Lim开玩笑地问道：“当我演奏大提琴时，我怎么知道它不是在演奏我？”她指的是越来越多的研究（从音乐，哲学，心理学等）。围绕音乐的生态学，以及乐器如何像假肢（贝特森1972），将“音乐”心灵（小1998）通过身体延伸到世界。1580年，米歇尔·德·蒙田（Michel de Montaigne）问道：“当我和猫玩耍时，我怎么知道它不是在和我玩耍？”关键是用一把没有生气的大提琴代替了活的猫，在这里被提升到“活”的状态，作为一个思想实验。对我来说，这很有趣，并不是因为大提琴可能真的有思想，而是因为对“大提琴在世界上的作用是什么？”“允许各种有趣和创造性的可能性组成。例如，“大提琴“想”发出什么声音？“可以通过尽可能中性的方式演奏来回答，只需将能量与弓一起放入大提琴，观察发出什么声音。尝试不同的方法来激发大提琴很快就会显示出它的偏好。通过限制人类音乐品味的强加，大提琴自己的音乐出现了。下一步是问乐器如何“演奏”演奏者？我的项目一直在跟进这个问题，从根本上扩展到问我如何在乐器引导演奏者的情况下创作音乐，最终让乐器定义音乐如何在演奏中展开。与大提琴不同的是，这个项目的重点是单簧管，一个天生不稳定的乐器，通过多年的训练，球员学会控制。当我们研究单簧管“想要”发出什么声音时，我们会发现一系列令人困惑的噪音和“多声”音色;这里不是一个音符，而是多个同时竞争的音符，所有这些音符都在微妙的平衡中相互干扰，创造出一个复杂而模糊的声音世界。这些声音本身现在在新音乐和实验音乐中无处不在，作曲家以不同的方式使用它们，从不加批判的“声音效果”到对声音的细致入微的操纵。然而，对于所有这些熟悉的不稳定和非标准的声音，占主导地位的范式是控制，其中作曲家定义了一个声音，表演者努力每次都准确地产生它。我的项目走了另一条路，问如果我们用“支持”代替控制，会打开什么样的组合可能性？如果不是定义特定的声音，作曲家的作用是创造一个系统，在这个系统中，演奏者总是对乐器的偏好做出反应，让它引导她穿过复杂的声音迷宫。演奏者的主要作用是为乐器注入活力，让偶然和不稳定的声音占据主导地位，利用他们的技术技能来支持复杂声音的微妙平衡，并让乐器发挥主导作用。例如，这可以通过指导玩家专注于在任何给定的声音中引出两个竞争音高中较小的一个来实现：就像洞穴探险家探索复杂的洞穴系统一样，避免最常走过的路径可能会导致一个圆圈，或者它可能会打开全新的未探索区域。该项目的目标是找到和传播的作曲策略，限制无限的可能性到有意义的和新颖的形式，而不会削弱机构和物理物质的工具。通过与专业单簧管演奏家、声学家和平面设计师的密切合作。我将为一个和两个clareclipse组成多个片段，概述了各种策略和符号。所有这些都在网上严格记录，以最大限度地提高公众参与度。