Music and/as Process Music and/as Process Edited by Lauren Redhead and Vanessa Hawes Music and/as Process Edited by Lauren Redhead and Vanessa Hawes This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Lauren Redhead, Vanessa Hawes and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9491-5 ISBN (13): 978-1-4438-9491-3 TABLE OF CONTENTS List of Illustrations and Tables .................................................................. vii Introduction ................................................................................................. 1 Part I: Analysis as/of Process Chapter One ............................................................................................... 10 Introversive and Extroversive Processes: Rethinking Stravinsky’s Music as Dialogue between Formalist and Expressive Paradigms NICHOLAS MCKAY Chapter Two .............................................................................................. 34 On the Nature of Subjectivity in Music Analysis: Some Observations on Analysing an Early Score by Philip Glass SUZIE WILKINS, KEITH POTTER AND GERAINT A. WIGGINS Chapter Three ............................................................................................ 56 Perception of Structure as a Learning Process in a Schoenberg Song VANESSA HAWES Part II: Performing Processes; Performance Processes Chapter Four .............................................................................................. 80 Performing Transformations (a Risky Approach) ELLEN HOOPER Chapter Five .............................................................................................. 97 Risky Business: Negotiating Virtuosity in the Collaborative Creation of Orfordness for Solo Piano DAVID GORTON AND ZUBIN KANGA Chapter Six .............................................................................................. 116 Notation as Process: Interpretation of Open Scores and the ‘Journey Form’ LAUREN REDHEAD vi Table of Contents Part III: Composition of/with Processes Chapter Seven .......................................................................................... 136 Temporality, Structure, Symbols, and the Social: Graphic Notation as Process CHARLES CÉLESTE HUTCHINS Chapter Eight ........................................................................................... 156 Navigating the Uncertain: Performers in Devising Processes MICHAEL PICKNETT Chapter Nine ............................................................................................ 173 Translation as Paradigm and Process for Pre-Composition in Leiden Translations Installation and Film ALISTAIR ZALDUA Chapter Ten ............................................................................................. 194 Subjectifying the Objective: Mathematical Processes and the Search for Balance STEVE GISBY Chapter Eleven ........................................................................................ 210 ‘I am just Practising’: A Personal Conversation among the Boundaries and Subjectivities of Current Musicologies CHARLOTTE PURKIS Bibliography ............................................................................................ 230 Contributors ............................................................................................. 243 Index ........................................................................................................ 248 LIST OF ILLUSTRATIONS AND TABLES 1.1a: Stravinsky, The Rite of Spring, opening bassoon melody from the introduction to the ‘Adoration of the Earth’ with melodic cell labels referring to Nattiez’s distributional analysis in Fondements d’une sémiologie de la musique. ......................................................... 16 1.1b: Representation of Nattiez’s distributional analysis of the opening of Stravinsky’s The Rite of Spring, as shown in Figure 1.1a. .............. 16 1.2: Stravinsky, Oedipus Rex, Act 2, Shepherd’s aria. .............................. 20 1.3: Stravinsky, Piano Sonata, First Movement, bb.12-31, paradigmatic analysis. ............................................................................................... 23 1.4: Stravinsky, Piano Sonata, First Movement, bb.12-31 refracted through Rosch’s tripartite model of basic level prototype effects ........ 25 1.5: Stravinsky, Concerto for Piano and Wind Instruments, First Movement, Figures 11-13. ................................................................... 30 2.1: Glass, Gradus, bb.1-2. ........................................................................ 38 2.2: Glass, Gradus, bb.8-9. ........................................................................ 39 2.3: Glass, Gradus, bb.20-21. .................................................................... 40 2.4: Glass, Gradus, b.28. ........................................................................... 40 2.5: Glass, Gradus, b.42. ........................................................................... 41 2.6: Glass, Gradus, b.60. ........................................................................... 41 2.7: Glass, Gradus, b.66. ........................................................................... 42 2.8: Glass, Gradus, b.70. ........................................................................... 43 2.9: Glass, Gradus, bb.82-83. .................................................................... 43 2.10: Glass, Gradus, b.87. ......................................................................... 44 2.11: Glass, Gradus, b.94. ......................................................................... 44 2.12: Glass, Gradus, b.6. ........................................................................... 45 2.13: Glass, Gradus, bb.8-10. .................................................................... 46 2.14: Glass, Gradus, bb.17-18. .................................................................. 47 2.15: Glass, Gradus, bb.18-23. .................................................................. 48 2.16: Glass, Gradus, b.35. ......................................................................... 49 2.17: Glass, Gradus, b.57. ......................................................................... 49 2.18: Glass, Gradus, b.71 .......................................................................... 50 3.1: Self-reported structure of Schoenberg, Das Buch der hängenden Gärten, Song IV. .................................................................................. 65 3.2: Schoenberg, Das Buch der hängenden Gärten, Song IV, b.18. ......... 67 3.3: Schoenberg, Das Buch der hängenden Gärten, Song IV, b.21. ......... 68 viii List of Illustrations and Tables 3.4a: Comparing b.18 to b.21 in Schoenberg, Das Buch der hängenden Gärten, Song IV. .................................................................................. 70 3.4b: Comparing bb.18-20 to bb.15-17in Schoenberg, Das Buch der hängenden Gärten, Song IV. ......................................................... 71 3.4c: Comparing bb.21-22 to bb.18-20 of Schoenberg, Das Buch der hängenden Gärten, Song IV. ......................................................... 72 3.5: Comparing some attributes of b.18, b.21, and the opening material of Schoenberg, Das Buch der hängenden Gärten, Song IV. ............... 74 4.1: de Falla, ‘Polo’ from 7 Canciones populares Españolas, bb.5-12. .... 90 4.2: de Falla, ‘Polo’ from 7 Canciones populares Españolas, bb.29-36. .. 92 4.3: de Falla, ‘Polo’ from 7 Canciones populares Españolas, bb.37-44. .. 93 4.4: de Falla, ‘Polo’ from 7 Canciones populares Españolas, bb.86-89. .. 94 5.1: The opening of Gorton, ‘Evacuation of the Civil Population from Shingle Street, Suffolk’ from Orfordness. ................................ 102 5.2: Damping an e-bow note with a dulcimer hammer. ........................... 105 5.3: Gorton, ‘Cobra Mist’ from Orfordness, extract. ............................... 107 5.4: Gorton, ‘You Can’t Tell the People’ from Orfordness, extract. ....... 108 5.5: Gorton, ‘Blue Danube’ from Orfordness, extract. ............................ 110 5.6: Orford Ness as it is today. ................................................................ 111 5.7: Gorton, ‘The Island’ from Orfordness, extract. ................................ 113 6.1: Mc Laughlin, Music in Two Dimensions: No. 2a. ............................ 122 6.2: Fergler, Image, Music, Text, p.12. .................................................... 127 6.3: Lucas, [Unnamed Maps Series], notation extract. ............................ 129 7.1: Cardew, Treatise, p.2. ....................................................................... 137 7.2: Applebaum, Medium, p.3. ................................................................ 139 7.3: Braxton, Falling River Music (Piece #365b). ................................... 141 7.4: Braxton, the title of Piece #69Q. ...................................................... 142 7.5: Redhead, Concerto, parts 3 and 4 on p.4. ......................................... 146 7.6: Hutchins, Imramma panel................................................................. 150 7.7: