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

在过去的60年里，音乐作品中非传统的记谱方法激增，创造了一个很难确定作曲家精确目标的环境。符号的意义充其量是可变的，因为表演实践和作曲策略通常会被未记录的惯例所改变，因此如果不了解当地的实践准则，几乎不可能在作品之间准确地传递原则。该项目将重点关注文本符号的使用，即作曲仅使用文字而不使用图形或传统音乐符号，目的是提供一种工具来解码这些惯例，适合任何对这项工作感兴趣的人使用。该项目将分析和分类广泛的文本分数（历史和美学），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表演实践，以便为它们的实现提供一种方法。将详细讨论一系列范例，使用从作曲家、表演者、其他评论员和档案中收集的具有历史意义的信息，为发展对媒介的理解提供案例研究。这将呈现在一个撰写的书籍选集，包括章节的作曲策略和表演实践和注释的例子50这样的作品。这项研究的发现将使作曲家对文本乐谱组成的原则有一个清晰的理解，并使表演者对他们的实现培养一种知情的态度。它将为这种被忽视的流派提供一个非常需要的调查，这将对音乐学家和普通读者都有价值。在教育方面，越来越多提供相关领域（如实验音乐）课程的机构和在工作中使用文本符号的社区音乐家将能够从该资源中受益。

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.