Words and Music: defining the compositional and performance practice of text scores

在过去的六十年里，音乐作品的非传统记谱方法激增，创造了一种环境，在这种环境中，人们往往难以确定作曲家的确切目标。符号意义充其量是可变的，表演实践和作曲策略习惯性地被未记录的惯例所改变，使得在不理解本地化实践规范的情况下几乎不可能在作品之间有把握地转移原则。该项目将侧重于使用文本记谱法，即只使用文字而不使用图形或传统的音乐符号来记录作品，目的是提供一个适合任何对这项工作感兴趣的人使用的解码这些约定的工具。该项目将分析和分类广泛的文本分数（历史上和美学上），目的是确定作曲家采取的共同方法。它还将研究与这些作品相关的性能实践，以提出实现它们的方法。将详细讨论一系列范例，使用从作曲家，表演者，其他评论员和档案收集的历史重要信息，为发展对媒体的理解提供案例研究。研究结果将收录于一本专为作曲家撰写的作品集，当中包括有关作曲策略及演奏实践的章节，以及五十首这类作品的注释范例。研究结果将有助作曲家清楚了解文本乐谱的创作原则，并有助演奏家培养正确的态度。它将提供一个非常需要的调查这一被忽视的体裁，这将是有价值的音乐学家和一般读者一样。在教育方面，越来越多的机构提供相关领域的课程（如实验音乐）和社区音乐家在他们的工作中使用文本记谱法将能够从资源中受益。

Unconventional notation methods for musical compositions have proliferated over the past sixty years, creating an environment in which it is often difficult to determine the precise aims of composers. Notational meaning is at best variable, with performance practice and compositional strategies being habitually transformed by undocumented conventions, rendering it almost impossible to transfer principles between pieces with assurance without an understanding of localised codes of practice. The project will focus on the use of text notation, whereby the composition is notated solely using words and no graphic or conventional musical symbols, with the aim of providing a tool for the decoding of these conventions suitable for use by anyone with an interest in this work.The project will analyse and classify a wide range of text scores (historically and aesthetically) with the aim of determining common approaches taken by composers. It will also examine the performance practice associated with these pieces in order to present a methodology for their realisation. A series of exemplars will be discussed in detail, using historically significant information gathered from composers, performers, other commentators and archives, providing case studies for developing an understanding of the medium. This will be presented in an authored book anthology including chapters on compositional strategy and performance practice and annotated examples of fifty such pieces.The findings of the research will enable composers to develop a clear understanding of the principles of text score composition, and performers to foster an informed attitude to their realisation. It will provide a much needed survey of this neglected genre which will be of value to musicologists and general readers alike. In an educational context, the increasing number of institutions who offer courses in related areas (such as experimental music) and community musicians using text notation in their work will be able to benefit from the resource.