Cantitate/Preț
Produs
Total produse
Vezi coșul
Word Events: Perspectives on Verbal Notation de Dr. John Lely

Word Events: Perspectives on Verbal Notation

Autor Dr. John Lely, James Saunders
en Limba Engleză Paperback – 19 iul 2012

Considerăm că experiența parcurgerii volumului Word Events este echivalentă cu pătrunderea într-un laborator al avangardei, unde sunetul se eliberează de constrângerile portativului tradițional. Încă de la primele pagini, suntem invitați să privim cuvântul nu doar ca pe un vehicul semantic, ci ca pe un instrument de precizie compozițională. Calitatea ediției publicate de Bloomsbury Publishing permite o imersiune vizuală în estetica minimalistă a partiturilor-eveniment, oferind cititorului șansa de a vedea cum instrucțiuni simple pot genera universuri sonore complexe.

Structura volumului este riguros organizată pentru a ghida cititorul prin acest teritoriu hibrid. Prima parte, dedicată „Gramaticii”, analizează mecanismele lingvistice — timp, mod, voce — care fac notația verbală funcțională. A doua parte reprezintă inima cărții, reunind peste 170 de partituri semnate de figuri iconice precum John Cage sau Yoko Ono. Ca și The Ashgate Research Companion to Experimental Music, această lucrare pune în valoare diversitatea practicii experimentale, dar cu un accent distinct pe rolul textului ca partitură autonomă, oferind comentarii care contextualizează fiecare strategie compozițională. Ritmul lecturii alternează între rigoarea analitică a eseurilor și libertatea interpretativă a partiturilor de tip „prose score”.

Reținem acest volum ca pe o resursă fundamentală care documentează momentul în care muzica, artele vizuale și performance-ul au fuzionat prin intermediul limbajului. Este o cartografiere a indeterminării, unde autorii Dr. John Lely și James Saunders reușesc să transforme un material scholarly într-o experiență senzorială despre potențialul infinit al instrucțiunilor scrise.

Citește tot Restrânge

Preț: 21302 lei

Preț vechi: 39407 lei
-46%

Puncte Express: 320

Carte tipărită la comandă

Livrare economică 02-16 iunie

 Adaugă în coș

Wish list
Gift list
Am citit!
Adaugă în listă

Specificații

ISBN-13: 9781441173102
ISBN-10: 1441173102
Pagini: 488
Ilustrații: 80
Dimensiuni: 174 x 252 x 34 mm
Greutate: 0.9 kg
Ediția:New.
Editura: Bloomsbury Publishing
Colecția Continuum
Locul publicării:New York, United States

De ce să citești această carte

Recomandăm această carte muzicienilor și artiștilor care doresc să exploreze granițele dintre text și sunet. Veți câștiga acces la o arhivă impresionantă de peste 170 de partituri experimentale, multe inaccesibile până acum. Este un instrument esențial pentru înțelegerea mișcării Fluxus și a muzicii experimentale postbelice, oferind atât baza teoretică, cât și exemple practice pentru noi forme de creativitate interdisciplinară.

Despre autor

Dr. John Lely este un compozitor și interpret preocupat de limitele notației și ale sunetului, fiind un practician activ în sfera muzicii experimentale. James Saunders este compozitor și profesor în cadrul Centrului de Cercetare Muzicală de la Bath Spa University. Expertiza sa în domeniu este recunoscută la nivel internațional, fiind și editorul volumului The Ashgate Research Companion to Experimental Music. Împreună, cei doi autori aduc o perspectivă dublă — academică și practică — asupra modului în care instrucțiunile verbale pot defini actul artistic contemporan.

Descriere

Verbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making. Works created with this type of notation are often referred to by their authors as event scores, prose scores, text scores or instruction scores.

Word Events features over 170 scores, many printed here for the first time, representing the works of more than 50 practitioners including George Brecht, John Cage, Cornelius Cardew, Pauline Oliveros, Yoko Ono, Michael Pisaro, Karlheinz Stockhausen, Jennifer Walshe and La Monte Young.

The commentaries in the book explore the compositional strategies and performance practice of particular works, contextualised by key essays, including previously hard-to-find texts by Lawrence Halprin and Kenneth Maue, together with many new statements and interviews from composers, artists and performers. This unique and wide-ranging collection of scores and writings will be indispensable to musicians, artists, those involved with community arts, and anyone with an interest in exploring the rich potential of the written word.

Cuprins

List of illustrations
Introduction
Acknowledgements

Part 1: Grammar

On the use of grammar in verbal notation
Introduction
Grammars
Context
Register
Processes
Tense
Modality
Mood
Voice
Circumstances
Postscript

Part 2: Scores, Writings and Commentaries

Eric Andersen
Opus 18 (1961)
In Mezzo a Quattro Tempi

Robert Ashley
The Entrance (1965-6)
Some notes on a performance of The Entrance
Commentary: The Entrance

G. Douglas Barrett
A Few Silence (location, date, time of performance) (2008)
A Text Score Manifesto
Commentary

Antoine Beuger
one tone. rather short. very quiet (1998)
Commentary

George Brecht
Time-Table Music (1959) and Time-Table Event (1961)
The Origin of 'Events'
Commentary

Gavin Bryars
Far Away and Dimly Pealing (1970)
On Verbal Notation
Commentary

Arthur Bull
From 25 Scores (1994)
Statement on text scores

John Cage
Solo for Voice 6 (1970)
Commentary

Cornelius Cardew
On the Role of the Instructions in the Interpretation of
Indeterminate Music
The Great Learning, Paragraph 6 (1968-71)
Commentary

Tony Conrad
Selected pieces from 1961 compositions
Word Scoring

Philip Corner
Music notation is about specifics*; Words are generalisations.
GAMELAOONY (2004)
Commentary

Bill Drummond
SHOW (2007)
MY SCORES & ME

Ken Friedman
Zen Vaudeville (1966)
Events, Scores, Notations

Malcolm Goldstein
wood stone metal skin, with voice (1983)
Statement on verbal notation

Daniel Goode
Relaxing at the Piano (1977)
Conceptual, Verbal, and Graphic Scores

Lawrence Halprin
A Summary of the Characteristics of Scores, from The RSVP Cycles:
Creative Processes in the Human Environment (1969)

Tom Johnson
The Big Rumble and the Tiny Blip, from Private Pieces (1976)
On Private Pieces: Piano Music for Self-Entertainment

Seth Kim-Cohen
Forever Got Shorter (from a t-shirt of the same name) (2010)
How To Write A Text About How To Write A Text Score (And Why)
Some thoughts on Forever Got Shorter
Realising Forever Got Shorter

Bengt af Klintberg
From Twenty Five Orange Events (1963-6)
Peel an orange carefully ...

Alison Knowles
Shoes of Your Choice (1963)
Commentary

Takehisa Kosugi
South No. 3 (Malika) (1965)
Commentary

Joseph Kudirka
superstition's willing victim (2007)
Commentary

Sol LeWitt 270
Wall Drawing #960 (2001)
Wall Drawings
Doing Wall Drawings

Annea Lockwood
From the River Archive (1973)
Statement

Alvin Lucier
Notes on Verbal Notation
Music on a Long Thin Wire (1977)
Realising Music on a Long Thin Wire

George Maciunas
In Memoriam to Adriano Olivetti (1962)
Commentary

Benedict Mason
telling (2002)
outside sight unseen and opened (2002)

Kenneth Maue
From 'Ideas Around the Experiences', in Water in the Lake:
Real Events for the Imagination

Max Neuhaus
LISTEN (1966)
LISTEN

Pauline Oliveros
Ear Piece (1998)
Commentary

Michael Parsons
Walk (1969)
Commentary

Ben Patterson
Solo for Dancer (1962)
On Solo for Dancer

Michael Pisaro
Only (2005-6)
Ten Encounters (A Personal Text Score History)
Commentary

Erik Satie
Performance Indications

Craig Shepard
Lines (1) and Lines (2) (1999)
Use of text notation

Kunsu Shim
PLACES with Airhorn (1999)
Statement: Verbal Notation

Mieko (Chieko) Shiomi
Event scores (1963-4)
Text Notation

Hugh Shrapnel
Houdini Rite (1970)
Verbal Music

Howard Skempton
for Strings (1969)
On for Strings

Mark So
Some forgotten day (sparse winter) (2009)
Text | composition - scores and structure after 4'33"

Karlheinz Stockhausen
RIGHT DURATIONS (1968)
Commentary

Jennifer Walshe
dirty white fields (2002)
Commentary

Manfred Werder
20051
Text Scores - Statement (1)
Statement on Indeterminacy
Commentary

John White
Newspaper-Reading Machine (c. 1971)
Statement on Verbal Notation
Commentary

Michael Winter
for Sol LeWitt (2009)
Relativity and Scalability in Respect to Sound and Silence

Daniel Wolf
The Long March (2009)
Notes with or without Notes

Christian Wolff
Stones (1968)
On verbal notations
Commentary

Amnon Wolman
February 26, 2000
Statement

La Monte Young
Compositions 1960
11 II 07 Corrected Numbering System for 1960 Works
Commentary
Why I Withdrew from Fluxus

Sources
Bibliography

Recenzii

"Diverse models of scoring and text-based instructions have animated experiments in music, performance, visual art, dance and poetry for over fifty years. A crucial tool in the emergence of interdisciplinary art practices, verbal notation deftly cuts across genres and categories. Short event scores, long prose pieces and enigmatic statements potentially cue actions from swinging microphones to making a salad to playing a long sustained chord. Key decisions are left to performers, and realizations may be concrete and audible or simply generate a state of awareness. It is the ultimate open form. Combining scores, statements and short critical essays, Word Events brings together classic works with more recent projects that show the continued vitality of this practice. This is a collection we have needed for a long time." - Liz Kotz, Associate Professor of Art History, UC Riverside and author of, Words to Be Looked At: Language in 1960s Art
"The 1960s and 1970s were, in the words of composer David Behrman, a time in which 'established techniques were thrown away and the nature of sound was dealt with from scratch.'   The five-line staff collapsed under the weight of innovations like indeterminacy, Fluxus, live electronic music, performance art, and sound installations.  The verbal score emerged as a pragmatic, egalitarian alternative.  Today, with Sound Art ascendant, these scores have a newfound significance for all those concerned with performance outside the continuum of traditionally notated Western music.  Sadly, the majority of these self-published documents remain exceedingly difficult to find, despite widespread webification of historical flotsam.   In this volume Lely and Saunders have assembled an extraordinary collection of important scores, ranging from the exalted to the ephemeral. The inclusion of commentary by the artists themselves, as well as the first systematic analysis of the various forms of prose score, makes Word Events an invaluable resource for scholars and practicing artists alike." - Nicolas Collins, Professor, Department of Sound, The School of the Art Institute of Chicago, and Editor-in-Chief, Leonardo Music Journal