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University of Huddersfield Repository University of Huddersfield Repository Thomas, Philip Abstruse Bagatelles: Music for solo piano by Christopher Fox Original Citation Thomas, Philip (2016) Abstruse Bagatelles: Music for solo piano by Christopher Fox. In: Perspectives on the Music of Christopher Fox: Straight lines in broken times. Routledge, Abingdon, Oxon, pp. 128-148. ISBN 9781472428240 This version is available at http://eprints.hud.ac.uk/id/eprint/29709/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 Perspectives on the Music of Christopher Fox Christopher Fox (1955) has emerged as one of the most fascinating composers of the post-war generation. His spirit of experimentalism pervades an oeuvre in which he has blithely created his own version of a range of contemporary musical practices. In his work many of the major expressions of European cultural activity – Darmstadt, Fluxus, spectralism, postminimalism and more – are assimilated to produce a voice which is uniquely resonant and multifaceted. In this, the first major study of his work, musicologists, composers, thinkers and practitioners scrutinize aspects of Christopher Fox’s music, each exploring elements that relate to their own distinct areas of practice, tracing Fox’s compositional trajectory and situating it within post-war contemporary European music practice. Above all, this book addresses the question: How can one person dip his fingers into so many paint pots and yet retain a coherent compositional vision? The range of Fox’s musical concerns make his work of interest to anyone who wants to study the development of so-called new music spanning the latter twentieth century into the twenty-first century. Rose Dodd (1967) is a composer of instrumental and electronic music. From 1990–94 she lived in the Netherlands studying briefly with Diderik Wagenaar at the Royal Dutch Conservatoire in The Hague. Coming from an acousmatic back- ground with a strong interest in Scandinavian soundworlds, whether electronic or instrumental, the Swedish text sound-art tradition in particular has led to a number of electronic works with text. Dodd has been awarded a number of prizes, including Honourable Mention at Prix Ars Electronica ʼ96, 19th International Luigi Russolo Concorso and Prix de Residence at Bourges Synthèse ʼ97. Engaged in a signifi- cant research residency period at NOTAM Oslo, which began in 2011, she is work- ing on a series of works for instruments and electronics. The results so far have been mobius ii for Hardanger fiddle (Britt Pernille Frøholm) and electronics pre- miered HCMF 2011; Aandacht for 2 pianos and electronics, performed by Philip Thomas/Lisa Ullen premiered HCMF 2013, and Waternish Ballad for Scottish fiddle ( Sarah-Jane Summers) and electronics premiered at Scotland’s Sound Festival, Banchory in October 2014. She has also written pieces for Ere Lievonen, for the 31-tone Huygens-Fokker Organ, situated in Amsterdam’s Muziekgebouw, Kleurenspelletjes (2015). She was awarded a PhD in Composition in 2006 at the University of Huddersfield, UK, where she studied with Christopher Fox. Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 Perspectives on the Music of Christopher Fox Straight Lines in Broken Times Edited by Rose Dodd Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 First published 2017 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 selection and editorial matter, Rose Dodd; individual chapters, the contributors The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Names: Dodd, Rose. Title: Perspectives on the music of Christopher Fox: straight lines in broken times / edited by Rose Dodd. Description: [2017] | Includes bibliographical references and index. Identifiers: LCCN 2015040012 | ISBN 9781472428240 (hardcover: alk. paper) | ISBN 9781315600222 (ebook) | Subjects: LCSH: Fox, Christopher, 1955—Criticism and interpretation. | Music—20th century— History and criticism. | Music—21st century—History and criticism. Classification: LCC ML410.F795 P47 2016 | DDC 780.92—dc23 LC record available at http://lccn.loc.gov/2015040012 ISBN: 9781472428240 (hbk) ISBN: 9781315600222 (ebk) Bach musicological font developed by © Yo Tomita Typeset in Times New Roman by codeMantra Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 Contents List of music examples vii Notes on contributors ix Preface xiii Christopher Fox xvii 1 Music, performance, theatre: Christopher Fox’s stage works 1 BJÖRN HEILE 2 Professor Fox, will you draw me a doodle? 17 CLAUDIA Molitor 3 Mapping the words: A composer’s view of the role of text in music 35 Christopher FOX 4 Reflections on consonance and dissonance: Christopher Fox’s early works for clarinet 52 ROGER Heaton 5 Dr Fox’s commas 61 BOB GILMORE 6 Utilitarian electronics: Portrait mit Cage und Stockhausen (Barlow und Kagel sind auch dabei) 70 MoNTy ADKINS 7 Something to do with belief: An interview with Christopher Fox 97 NIKKI MC GAVIN (NÉE CASSIDY) Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 vi Contents 8 Style matters: Getting Foxy with Igor 109 STEPHEN CHASE 9 Abstruse Bagatelles: Music for solo piano by Christopher Fox 128 PHILIP THOMAS 10 Ecstatic and Dutch: Structuralist approaches to minimalism 149 ROSE DODD Bibliography 159 Index 165 Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 List of music examples 1.1 Fox, ‘Patrol’, opening. 2 1.2 Fox, something to do with belief, time grid for the period between 2'00" and 3'00". 9 1.3 Fox, Widerstehen, scene 6, bars 34–9. 15 2.1 Fox, something to do with belief, sketch. 19 2.2 Fox, drift + drag, sketch. 21 2.3 Fox, L’ascenseur, sketch of bars 28–1. 26 2.4 Fox, the erosion of memory, percussion part. 28 2.5 Fox, one/two/three/four-piece [delete as inapplicable], sketch of sections F and G. 30 2.6 Fox, one/two/three/four-piece [delete as inapplicable], page 6. 31 4.1 Fox, Straight lines in broken times2, bars 167–179. 59 5.1 Fox, BLANK, opening. 62 5.2 Fox, für Johannes Kepler, tuning of the keyboard (numbers are frequencies in Hertz). 63 5.3 Fox, Catalogue irraisoné, excerpt from Scanner. 64 5.4 Fox, Trummermusik, extract from second song. 66 6.1 MERZ-sonata, the 23 samples. 85 6.2 Cylinders Barn, 1947, extract from Fox’s notebooks presenting a possible arrangement of voices. 87 6.3 Cylinders Barn, 1947, extract from Fox’s notebooks presenting a possible progression of voice recordings. 87 6.4 Cylinders Barn, 1947, extract from Fox’s notebook showing a possible stereo placement of recordings. 88 6.5 Cylinders Barn, 1947, extract from Fox’s notebooks showing the timeline structure. 89 6.6 Shadow cast, nodal structures. 92 6.7 ZONE, opening. 93 6.8 ZONE, sketch for the nodal configuration of harmoniads. 94 Review Copy – Not for Redistribution Philip Thomas - University of Huddersfield - 16/11/2016 viii List of music examples 6.9 ZONE, central nodal pitch for each movement. 94 6.10 ZONE, first movement, the first two (of nine) harmoniad pitch charts. 95 8.1 Fox, DaNCE, second movement, first line. 116 8.2 Fox, A Glimpse of Sion’s Glory, bars 153–6. 117 8.3a Fox, A Glimpse of Sion’s Glory, bars 122–5, Tutti: ‘The work we are going about’. 118 8.3b Fox, A Glimpse of Sion’s Glory, bars 145–7, Alto & Tenor: ‘The work we are going about’. 118 8.4 Fox, A Glimpse of Sion’s Glory, bars 1–3. 119 8.5 Fox, Oboe Quintet, bars 13–18. 121 8.6 Fox, Oboe Quintet, bars 103–4. 122 9.1 Fox, L’ascenseur, bars 70–8. 136 9.2a Fox, L’ascenseur, bars 1–5: pitch cells. 137 9.2b Fox, L’ascenseur, bars 1–5. 137 9.3 Fox, L’ascenseur, bars 22–31. 138 9.4a Beethoven, Seven Variations on ‘God Save the King’, Coda and Adagio.
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