Series as multipart pieces with regulated changes

本研究旨在建立一套指导多部系列在音乐与视觉艺术中的结构与应用的原则。索尔·勒维特（Sol LeWitt）在这方面最好地定义了系列作品的概念，他说“系列作品是有规则变化的多部分作品”。各部分之间的差异是作文的主题。如果某些部分保持不变，那就是标点符号的变化……自治部分是单元、行、集或任何逻辑划分，它们将被视为一个完整的思想。观众会以线性或叙事的方式来阅读剧集，尽管在最终的形式中，许多场景会同时发生，让人很难理解。”自20世纪60年代以来，这种方法已成为各种视觉艺术的核心，特别是单色和色域绘画，一些概念艺术和各种形式的极简主义。在音乐中，这在中欧和美国的Wandelweiser作曲家团体的作品中最为明显。由Antoine Beuger和Burkhard Schlothauer于1992年创立，Wandelweiser定义了一种清晰的美学，其共鸣在过去十年中一直是国际上不断探索新作曲领域的关键。他们的作品与众不同，很少妥协：它处理极端和原型。Schlothauer在他的文章《Etwas <e:2> ber 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是非常安静的，而且在经常延长的演奏时间中，沉默占据了很大的份额。一般来说，传统戏剧很少，声音材料的呈现非常清晰：和声、节奏和旋律要么处于从属地位，要么根本没有。这些作曲家也经常引用视觉艺术家的作品。例如，在Beuger的作品中，marcia hafif（1994-2002）的系列[第一-第四]音乐借鉴了hafif单色的系列结构。哈菲夫的大部分作品都是连续的，有些已经完成，有些还在进行中。例如，她的《扩展灰阶》（1972-3）由105幅有序的灰色画作组成，当她感到无法区分一种新的灰色阴影时，它就完成了。其他艺术家的作品支持了这项研究，包括Sol LeWitt，他的一系列墙壁绘画告诉了我自己的相互关联的作品的构图方法，以及Carl Andre，他的地板雕塑与Dan Flavin的霓虹灯作品一起，可能是模块化最一致的扩展应用。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，他们的系列作品。这些将通过一篇期刊文章和《当代音乐评论》的编辑卷来阐述，重点关注Wandelweiser作曲家（第一个主要的英语研究），以及一系列的作曲项目，包括巴塞尔小交响乐、[route]和公寓大楼。这些作品将集中于我现有系列的进一步扩展，以及新系列的发展，这两者都将受到平行音乐学研究的影响。具体来说，在规划新的多部分工作时，通过分析其他工作确定的标准将影响我的一些决策：这是这种工作模式的本质，在宏观层面上做出的决策对后来的子部分开发具有重大影响。这两件合集作品将作为新系列的一部分相互关联，该系列是从通过上下文研究确定的原则中产生的，并由我当前的系列和早期的模块化作品#[未分配]提供信息。因此，这项研究将有利于实践者、音乐学家和对系列和模块化结构感兴趣的艺术理论家，以及寻求参与这些概念和工作的观众。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。

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.