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All scores for improvisers are permeable; they let contingency in and leave aspects of their internal structure to the performer. Another, which emerged as a proposal in post-production from producer Marcus Gammel, was to include informal descriptions of the hanxbook appearance of the score.
It did not resolve the question above once and for all: If we bring the content, rather than finding it along the way the way being not only real-time performance, but all the preparatory and reflective labor with which it is continuousthe hunt ends before we reach ourselves.
The meaning of the notation grew in constant feedback with the individual elements to which it referred in a variety of ways. Orchestral Works mode Petr Kotik Profile. They take a comparably literal approach, reading the page from left to right and translating the vertical dimension of the page registrally.
Performances of Treatise are best undertaken and assessed on their own terms; grafting strategies or values from one interpretation to another is unlikely to bear fruit.
Not a discussion of representing objects. In order to bridge the experiences of Treatise from the inside and the outside, I decided to interweave historical recordings of select pages with original interpretations. However I take issue with the notion that a high degree of symbolicity is necessarily reductive, and thus precludes moving forward in the hunt.
Hannafin dwells within the circles on the page so long that the circle-ness of the page becomes a constant and recedes into the background. The Philosophy of Improvisation. Treatise discography Tilbury, comments on particular versions in assorted publications Cardew ; Andersona network of resourceful colleagues, a helpful producer Marcus Gammeland of course the internet.
Since my aims were analytic and creative rather than archival, the discographical research was far from systematic.
Affirming the relativism of Treatise in this way implies that any interpretative approach, any path through the piece, is in itself valid. But the same cannot be said of each realization ; not all performances are equally convincing.
Although I was unable to find any direct correspondences between the score and the interpretive content corneljus than a short Luftpause toward the end, I continued to sense that what I was hearing could or should correspond because the pacing of the music was comparable with the density of visual information in the score: Introduction “Bear in mind that parts of the score may be devoid of direct musical relevance.
Experimental Music Catalogue For such players there will be no intelligible incentive to invent music or extend themselves beyond the limitations of treatose education and experience. There is a great difference between: Circles represent the Other, the counterpoint in this narrative.
This yreatise continues through p. From here, I hypothesized, one might begin to theorize the gaps between notation and performance that Treatise so relentlessly interrogates. Frankly, hearing myself call an empty page the heart of the piece surprised me. While those questions began as a rhetorical springboard, I would like to revisit them here, slightly reformulated, as points for earnest reflection.
The Lifeline and the Circles I began with the score. It may refer to something quite outside the flow of music or sound.
No rules of representation. What I identify as a free improvisation, because I cannot recognize correspondences between visual symbols and musical events, may not necessarily be so; the rules of interpretation may simply be less obvious. By that I do not mean that they are fundamentalists; they frequently adjust the meaning of the symbols in context, e. I shall return to this point. How did I handboo, among them in A Treatise Remix? Without having any preconceived ideas about what I will play — except by virtue of the instrumentation I will apply — I immerse myself within the sounds of the music, unfolding, reading the score as if it were a visual representation of the music.
Peters, and substantial critical and scholarly attention. Nonetheless, at the level of practice it offered me vindication and a clear foundational principle: In a consequent performance, improvisation takes place at multiple levels, not only onstage. I began with the score. Ede designs his strategy haphazardly at the outset and does not accept the challenges of his own making.
To keep the mess to a minimum, the collage would be held together by musical events or qualities shared between different recordings; audible interpretive trends would, ostensibly, provide the listener a structural thread throughout the piece. His left-to-right reading is consistent, yet the distribution of symbols on the page does not manifest in temporal proportions. A musical score is a logical construct inserted into the mess of potential sounds that permeate this planet and its atmosphere.
At each break in the line he would start a new sound. This precise interpretive strategy was arrived at collectively during rehearsals. Obviously a circle need not have the duration of its diameter.
Treatise handbook: including Bun no.2 [and] Volo solo – Cornelius Cardew – Google Books
For him, placing real-time music-making chronologically and ontologically before the symbols is not merely a personal choice; it is an imperative:. How do you musically interpret a square, a circle, or an object which looks like a bubble car?
All these shades of temporal complexity created second-order disjunctions — both between the recordings and between the collage and the score — in the process of corneliuss recordings in my collage.