utzgrazeparm2015publ [DOCUMENT]

Simultaneities and Chimeric Sound
Composing, Performing, and Perceiving Music Anti-Hierarchically
EPARM conference Graz, April 24, 2015
Christian Utz
University of Music and Performing Arts Graz
(1) description of non-hierarchical musical simultaneity as a
“compositional problem” and “inner-artistic” “solutions” [artistic
practice as principal medium of research]
(2) expanding this “problem” by creating a “map of musical
simultaneities” [artistic practice contextualized by scholarly theories and
methods]
(3) feedback into compositional concepts or other areas of musical
practice and theory (“replicability”)
2
1. Non-hierarchical Simultaneity as Compositional Problem
challenge: musical interculturality; dynamic, non-essentialist way of
combining Western and East Asian instruments
 ensemble pieces with bi-cultural instrumentation 2001-2006
Interference for piano and 8 Chinese instruments, 2001
together // apart for kayagum, taegum, saenghwang, violoncello, piano and
electronics, 2001
repercussion.camouflage.report for flute/bass flute, trombone, sheng/xun, percussion
and live-electronics, 2003
the wasteland of minds for sheng, zheng, Western instruments and live-electronics,
2003/2004
Glasakkord for shō, shakuhachi and Western instruments (bassclarinet (B); violin;
viola; violoncello; percussion), 2006
3
clarinet (A)
sheng
(Chin. mouth
organ)
zheng
(Chin. zither)
accordion
violin
cello
liveelectronics
Utz, the wasteland of minds, p. 4
4
Utz, the wasteland of minds, system of layers
5
1b (16,875 q x 2)
5a (1 q x 6 x 5,5)
2a (5 q x 3 x 2)
2b (5,625 q x 3 x 2)
5b (1,125 q x 6 x 5)
4a (1,5 q x 5 x 4,5)
4b (1,66 q x 5 x 4)
1a (15 q x 2)
Utz, the wasteland of minds, p. 1
6
5b (1,125 q x 6 x 5
1b (16,875 q x 2)
5a (1 q x 6 x 5,5)
2a (5 q x 3 x 2)
3a (2,5 q x 4 x 3)
2b (5,625 q x 3 x 2)
4a (1,5 q x 5 x 4,5)
3b (2,812 q x 4 x 3
5b (1,125 q x 6 x 5)
4b (1,66 q x 5 x 4)
4a (1,5 q x 5 x 4,5)
5a (1 q x 6 x 5,5)
4b (1,66 q x 5 x 4)
1b (16,875 q x 2)
1a (15 q x 2)
1a (15 q x 2)
Utz, the wasteland of minds, p. 2
7
audio example 1
Utz, the wasteland of minds, bars 1-8
Wu Wei, sheng
Yeh Jiuan-Reng, zheng
ensemble on_line [PHACE Contemporary Music]
Simeon Pironkoff, conductor
8
KUG-based
research project
CTPSO (A ContextSensitive Theory of
Post-tonal Sound
Organization,
2012-2014)
theories and methods
of performative
listening
four modes of listening
1.
2.
3.
4.
clar.
sheng
acc.
clar.
zheng
analytical
holistic
cue-oriented
"presentist"
Utz, the wasteland of minds, bars 1-8,
sonagramm + rudimentary transcription
9
Utz, the wasteland of minds, p. 13-15
10
Utz, the wasteland of minds, p. 13-15
11
Utz, the wasteland of minds, p. 13-15
12
audio example 2
Utz, the wasteland of minds, bars 61-72
Wu Wei, sheng
Yeh Jiuan-Reng, zheng
ensemble on_line [PHACE Contemporary Music]
Simeon Pironkoff, conductor
13
Utz, the wasteland of minds, b. 61-72
14
Utz, the wasteland of minds, p. 32-33
15
Utz, the wasteland of minds, p. 32-33
16
2. A Map of Musical Simultaneity
stream segregation
superimposition/
‘analytical’ montage
listening
‘linear’ polyphony
(post-tonal)
sound
polyphony
(tonal/modal)
‘presentist’
listening
cue-oriented
listening
‘holistic’ listening
sonic fusion
“form”/architectonics
continuity/process
time
17
2. A Map of Musical Simultaneity
stream segregation
‘analytical’
listening
‘linear’ polyphony
(post-tonal)
The primary law of polyphonic structure
can be found in the fact that the complex
of voices always appears as a unity; the
multiplicity of voices never suppresses
the impression of a totality into which
superimposition/
montage
the lines are woven and at the same time
omitting a single voice would not only
lead to a reduction of the complex of
lines but would mean its organic
distortion.
sound
polyphony
(tonal/modal)
‘presentist’Ernst Kurth, Der lineare Kontrapunkt,
listening Bern 21922, 351 (translation CU)
cue-oriented
listening
‘holistic’ listening
sonic fusion
“form”/architectonics
continuity/process
time
18
2. A Map of Musical Simultaneity
stream segregation
sound
Selbständigkeit
We
The
Helmut
listen
primary
Lachenmann
to the
lawder
entirety,
of polyphonic
Stimmen
keeping
iststructure
nicht
a
synoptic
can
“structural
bloß
be
sofound
aufzufassen,
impression,
sonority”
in the fact
dass
in which
that
sie the
nachcomplex
ihrem
singularities
of
defined
horizontalen
voices always
asare
Verlauf
“polyphony
distinguished
appears
von as
einander
of aordered
unity;
fromnicht
one
the
another so[…],
multiplicity
juxtapositions
abhängen
that
of voices
[Anordnungen]“
sondern
no interconnections
never
dasssuppresses
sie auch in
occur
the
harmonischer
impression
that might
Beziehung
ofbe
a totality
more von
important
into
einander
whichthan
superimposition/
(Klangtypen
der
Neuen
Musik
[1963/66/93],
‘analytical’ montage
others.
the
unabhängig
lines[…]
are
the
sein
woven
music
sollen;
and
finds
at
d.h.
the
itself
[…]same
in in:
a time
Musik
als
existentielle
Erfarhung,
hrsg.
von
Josef
listening
constant
omitting
a)
dass sieaflow
single
nicht
[…],
zu
voice
without
gleicher
would
pausing
Zeit
notauf
only
at
eine
the
Häusler, Wiesbaden 1996, 18, Translation CU]
instantaneous,
lead
gemeinsame
to a reduction
Harmonie
at the
of ‘beautiful
the
bezogen
complex
werden
of
‘linear’ polyphony
moments’
lines
müssen
but[…]
would
[…].the
[…]
mean
Preferably
its organic
everything
posits
that
“development
of each
(post-tonal)
composed
distortion.
c)
dass sieis womöglich
shall
be part
of the
formal
[sic!]
element
traceable
bydissonnante
the
listener“
process,
Zusammenklänge
shall
ergeben
– sollen
[…].(als
 resultsnothing
in “a sort
of dominate
montage
of
Ernst
Kurth,
Zeichen
Der lineare
der[that]
Unbekümmertheit)
Kontrapunkt,
polyphony
‘presentist’äußeres
different
structures
actively dispels
2
(tonal/modal)
listening d)
Karlheinz
Bern
1922,
das
Stockhausen,
351
(translation
harmonischer
CU)
anydass
sense
ofEntstehen
hierarchy
or priority“
Gruppenkomposition:
("registrierbarer")
Folgen
Klavierstück
wie z.B. I
(1955),Heathcote,
Cadenzen,
in: Texte
oderLiberating
sonst
zur Musik,
benennbarer
Bd.philosophical
1:
(Abigail
sounds:
perspectives
on the music and
writings
of des
Helmut
Aufsätze 1952–1962
Fundamentalschritte
zur
nicht
Theorie
anzustreben
Lachenmann,
University
Komponierens,
ist
und für PhD
ihredissertation,
Funktion
ed. DieterDurham
unmaßgeblich
Schnebel,
cue-oriented
2003, 28)
‘holistic’
listening
listening
Cologne
ist.
[…]
1963, 63–74 [translation CU]
 idea of “sound families”
Arnold Schonberg, Der lineare
Kontrapunkt [1931, Ms.]
sonic fusion
“form”/architectonics
continuity/process
time
19
2. A Map of Musical Simultaneity
stream segregation
‘analytical’
listening
‘linear’ polyphony
(post-tonal)
sound
polyphony
(tonal/modal)
We listen to the entirety, keeping a
synoptic impression, in which
singularities are distinguished from one
another so that no interconnections
occur that might be more important than
superimposition/
montage
others. […] the music finds itself in a
constant flow […], without pausing at the
instantaneous, at the ‘beautiful
moments’ […]. […] Preferably everything
composed shall be part of the formal
process, nothing shall dominate […].
‘presentist’
listening Karlheinz Stockhausen,
Gruppenkomposition: Klavierstück I
(1955), in: Texte zur Musik, Bd. 1:
Aufsätze 1952–1962 zur Theorie des
Komponierens, ed. Dieter Schnebel,
‘holistic’ listening
Cologne 1963, 63–74 [translation CU]
cue-oriented
listening
sonic fusion
“form”/architectonics
continuity/process
time
20
2. A Map of Musical Simultaneity
stream segregation
sound
Helmut
We
The
listen
primary
Lachenmann
to the
law entirety,
of polyphonic
keeping
structure
a
synoptic
can
“structural
be found
impression,
sonority”
in the fact
in which
that the complex
singularities
of
defined
voices always
asare
“polyphony
distinguished
appears as
of aordered
unity;
from one
the
another so that
multiplicity
juxtapositions
of voices
[Anordnungen]“
no interconnections
never suppresses
occur
the
impression
that mightofbe
a totality
more important
into whichthan
superimposition/
(Klangtypen
der
Neuen
Musik
[1963/66/93],
‘analytical’ montage
others.
the
lines[…]
are
the
woven
music
and
finds
at the
itselfsame
in in:
a time
Musik
als
existentielle
Erfarhung,
hrsg.
von
Josef
listening
constant
omitting
aflow
single
[…],voice
without
would
pausing
not only
at the
Häusler, Wiesbaden 1996, 18, Translation CU]
instantaneous,
lead
to a reduction
at the
of ‘beautiful
the complex of
‘linear’ polyphony
moments’
lines
but that
would
[…].the
[…]
mean
Preferably
its organic
everything
posits
“development
of each
(post-tonal)
composed
distortion.
be part
of the
formal
element is shall
traceable
by the
listener“
process,
shall
[…].
 resultsnothing
in “a sort
of dominate
montage of
Kurth,
Der lineare
Kontrapunkt,
polyphony
‘presentist’Ernst
different
structures
[that]
actively dispels
2
(tonal/modal)
listening Bern
Karlheinz
1922,
Stockhausen,
(translation
CU)
any sense
of351
hierarchy
or priority“
Gruppenkomposition: Klavierstück I
(1955),Heathcote,
in: TexteLiberating
zur Musik,
Bd.philosophical
1:
(Abigail
sounds:
perspectives
on the music and
of des
Helmut
Aufsätze 1952–1962
zurwritings
Theorie
Lachenmann,
PhD dissertation,
University
Komponierens,
ed. DieterDurham
Schnebel,
cue-oriented
2003, 28)
‘holistic’
listening
listening
Cologne
1963, 63–74 [translation CU]
 idea of “sound families”
sonic fusion
“form”/architectonics
continuity/process
time
21
audio example 3
Helmut Lachenmann, Kontrakadenz (1970) for orchestra, bars 21-28
Ensemble Modern Orchestra
Brad Lubman
22
accelerating percussion
(Bongos, Timp, Git/Vla col leg)
"sound families":
--accelerating impulses [red]
--short impulses [blue]
--sustained pitches [green]
--pitched sounds in high register [grey]
--brass [orange]
--external objects [yellow]
etc.
Lachenmann, Kontrakadenz (1970), bars 21-28
23
object-oriented assignement
stream segregation
superimposition/
‘analytical’ montage
listening
‘structural sonority’
‘linear’ polyphony
(post-tonal)
sound
polyphony
(tonal/modal)
‘presentist’
listening
‘textural sonority’
cue-oriented
listening
sonic fusion
‘holistic’ listening
chimeric assignement
“form”/architectonics
continuity/process
time
24
Christian Utz,
Glasakkord
for shō, shakuhachi
and Western
instruments (bass
clarinet (B); string
trio; tubular bells),
2006
independent layers:
shō (top) and
string trio (bottom)
25
shō
shakuhachi
bass
clarinet
(B)
tub.
bells
violin
viola
cello
Utz, Glasakkord, p. 18-19
26
Utz, Glasakkord, p. 18-19
27
audio example 4
Christian Utz, Glasakkord (2006) for shō, shakuhachi, bass clarinet, tubular bells and string trio, bars 61-72
Kō Ishikawa, shō
Tony Clark, shakuhachi
ensemble on_line [PHACE Contemporary Music]
Simeon Pironkoff, conductor
28
3. Consequences for Composition, Performance, and Analysis
musical hierarchies
stream segregation
hierarchical
-hierarchy of events in
time
("horizontal"  form)
-hierarchy of
simultaneous events
("vertical" 
polyphony/
superimposition)
sound
nonhierarchical
sonic fusion
“form”/architectonics
continuity/process
time
29
30