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'Transcending Quotation' View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main UNIVERSITY OF SOUTHAMPTON ‘Transcending Quotation’ Cross-cultural Musical Representation in Mauricio Kagel’s Die Stücke der Windrose für Salonorchester Björn Heile Doctor of Philosophy Department of Music April 2001 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF ARTS MUSIC Doctor of Philosophy ‘Transcending Quotation’: Cross-cultural Musical Representation in Mauricio Kagel’s Die Stücke der Windrose für Salonorchester Björn Heile Die Stücke der Windrose für Salonorchester (1989-95) by the Argentine-German composer Mauricio Kagel (*1931) constitute a set of eight pieces on the main bearings of the compass, each number being named after a compass point. In my thesis I explore how the different musical idioms – references to non-Western musics and to salon orchestra music, as well as Kagel’s own compositional procedures – relate to one another in the pieces. The specific origin of the materials Kagel utilised is established by examining a variety of sources, such as the composer’s own programme notes, an interview I conducted with him, and most importantly, the sketch materials. On this basis I develop a theoretical model of the intertextual relations between different musical discourses by means of Bakhtinian dialogics, resulting in a typology distinguishing different kinds of cross-cultural musical representation according to the degree of ‘stylisation’ involved. This typology serves as the framework of my analyses in which I discuss the different ways Kagel engages with his source materials in terms of compositional technique, aesthetic issues such as Kagel’s challenge to traditional notions of authorship, and the ideological implications of cross-cultural musical representation, interpreted in the light of recent discourses, for instance in cultural studies and postcolonialism. In particular, I demonstrate that Kagel‘s work is as much a critical reflection on common Western representations of ‘otherness’, as it engages in such a practice itself, as is apparent in the ostentatious employment of a salon orchestra with its associations of turn-of-the- century exoticism. By illustrating methodological approaches to cross-cultural composition, which has become a prominent feature of contemporary Western concert music, the thesis aims to contribute to current discourses concerning the musical representation of ‘otherness’. To the memory of my grandmother List of Contents List of Contents...........................................................................................................4 Copyright Declaration.................................................................................................5 Acknowledgements ....................................................................................................6 1. Introduction ............................................................................................................7 2. Basic Structure and Principle Features of the Work..........................................13 2.1. Genesis of the Work ....................................................................................15 2.2. Superstructure of the Cycle .........................................................................18 2.3. Geography and The Representation of Culture............................................20 2.4. Sketch Materials and Manuscripts ...............................................................23 2.4.1. Order of Materials, Compositional Process ..............................................25 3. Sources and Traditions........................................................................................31 3.1. References to Foreign Cultures in Western Music .......................................31 3.1.1. Cross-cultural Approaches in the Works of Mauricio Kagel......................35 3.2. The Salon Orchestra....................................................................................42 4. Representations ...................................................................................................47 4.1. Musical Representation and Bakhtinian Dialogics........................................48 4.1.1 The Challenge of Dialogics ......................................................................57 4.2. Theatrical Representation............................................................................59 4.3. Types of Musical Representation.................................................................62 4.3.1. Literal Quotation ......................................................................................68 4.3.2. Representation of Genre..........................................................................72 4.3.3. Conceptual Representation......................................................................83 4.3.4. Perceptual Representation ......................................................................92 4.3.5. Fictive Representation .............................................................................96 4.3.6. Illustrative Representation ..................................................................... 103 4.3.7. Abstract Symbolism ............................................................................... 107 4.4. Interpreting Representations...................................................................... 111 5. Reference and Context....................................................................................... 118 5.1. Shamanism and Multiple Serialism: Creative Process and Compositional Technique in ‘Norden’ ........................................................................................ 119 5.2. Collage and Compositional Control in ‘Osten’............................................ 133 6. Conclusion.......................................................................................................... 146 Bibliography............................................................................................................ 149 Appendix 1. Illustrations......................................................................................................... A-1 2. Music Examples................................................................................................. A-4 3. Transcription of an Interview with Mauricio Kagel............................................. A-24 Copyright Declaration All music examples are reproduced by kind permission of Edition Peters (Frankfurt and London). Examples 26 and 27 are photographic reproductions from the respective scores; all others are reductions edited by me. All sketch materials are reproduced by kind permission of the Paul Sacher Foundation (Basel). Examples 2 and 33 are facsimiles of the documents in question, whereas examples 23 and 32 are edited. 5 Acknowledgements According to a German proverb, there are many parents to success, but only one culprit for failure. So, while I am solely responsible for the shortcomings of this thesis, its best aspects are not least due to the many invaluable contributions I have received, for which I wish to express my gratitude. First of all, I want to thank Mauricio Kagel himself, who not only answered all my questions and queries good-humouredly, but also took an active interest in my project and lent his support. Thanks are also due to my supervisor, Nicholas Cook, for his enthusiasm and encouragement, innumerable suggestions, unfailing advice, and, last but not least, his patience vis-à-vis my doomed battle with the English language. Michael Finnissy’s critical advice has also been instrumental in the development of the work. I also wish to thank Helga de la Motte- Haber, who guided me in the earliest stages of research at the Technische Universität Berlin and continued to support me. She also made the suggestion to analyse the sketch materials. I am also grateful to Horst Dölvers for introducing me and others to Bakhtinian dialogics in his seminar series on recent developments in literary theory. The congenial atmosphere at the Department of Music of the University of Southampton has in no small measure contributed to making my stay a pleasant one. Representative for all other staff and students I wish to thank Antonio Cascelli, Peter Elsdon, Melanie Marshall and Han-earl Park, Tom Service, Charles Tebbs, and Lee Tsang for all the lively discussions, many pints, and generally good time we had together. I am also grateful to the Paul Sacher Foundation Basel for granting me a scholarship to study the Mauricio Kagel Collection, and for the support and generosity I received there; in particular I wish to thank Robert Piencikowski and Michèle Noirjean for their assistance. I would also like to extend my thanks to Edition Peters, who have supplied me with a tape recording of the work in question and many more materials. Thanks also to all respondents to my website on Kagel, who have convinced me that my efforts are not entirely in vain and raised a number of interesting queries. I particularly want to mention Daniel Perez, who has supplied me with a stream of invaluable Kageliana. Last but not least, I wish to express my gratitude to my parents without whose support and encouragement over the years this project would never even have been envisaged. I am also grateful to my grandmother for her understanding and – not least, financial – support, without which everything would have been much more difficult. Sadly, she died during the writing of this
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