Sound and Score

Exploring the complex and intimate relations between sound, score and notation. ‘Sound and Score’ brings together music expertise from prominent international researchers and performers exploring the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering “notation” as the totality of words, signs, and symbols encountered on the road to an accurate and effective performance of music, this book embraces different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, and between the concreteness of sound and the iconic essence of notation. Three main perspectives structure the analysis: a conceptual approach that offers contributions from different fields of enquiry (history, musicology, semiotics), a practical one that takes the skilled body as its point of departure (written by performers), and finally an experimental perspective that challenges state-of-the-art practices, including transdisciplinary approaches in the crossroads to visual arts and dance.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Contributors: Virginia Anderson (Experimental Music Catalogue), Paulo de Assis (Orpheus Institute), Sandeep Bhagwati (Concordia University Montréal), Robin T. Bier (University of York), Maria Calissendorff (Royal College of Music, Stockholm), Miguelangel Clerc (Leiden University), Kathleen Coessens (Vrije Universiteit Brussel and Orpheus Institute), Jeremy Cox (European Association of Conservatoires – AEC), Darla Crispin (Orpheus Institute), Anne Douglas (Robert Gordon University), Gregorio García Karman (University of Huddersfield), Yolande Harris (Leiden University), Susanne Jaresand (Royal College of Music, Stockholm), Tanja Orning (Norwegian Academy of Music, Oslo), Paul Roberts (Guildhall School of Music and Drama, London), Anna Scott (Leiden University), Andreas Georg Stascheit (Institute for Advanced Study in the Humanities, Essen/Dortmund University)

Prelude
Paulo de Assis

Part I: Score and Idea
Chapter 1
What I say and What I do: The Role of Composers' Own
Performances of Their Scores in Answering Our Research
Questions about Their Works and How We Should Interpret Them
Jeremy Cox

Chapter 2
“The Mysterious Whether Seen as Inspiration or as Alchemy”:
Some Thoughts on the Limitations of Notation
Paul Roberts

Chapter 3
Artistic Practice, Methodology, and Subjectivity: The “I Can”
as Practical Possibility and Original Consciousness
Andreas Georg Stascheit

Chapter 4
From Territories to Transformations: Anton Webern's Piano
Variations Op. 27 as a Case Study for Research in-and-through
Musical Practice
Darla Crispin

Interlude I: Exploring Musical Integrity and Experimentation
Kathleen Coessens

Part II: Mapping the Interface
Chapter 5
Poem as Score: Finding Melodies for Unnotated
Troubadour Songs
Robin T. Bier

Chapter 6
Sound Drifts: The Phenomenon of Stylistic Change
in the Interpretation of Fixed Texts
Anna Scott

Chapter 7
Pression Revised: Anatomy of Sound, Notated Energy,
and Performance Practice
Tanja Orning

Chapter 8
The In(visible) Sound
Miguelà ngel Clerc

Interlude II: The Score on Shifting Grounds
Kathleen Coessens

Part III: Extending the Boundaries
Chapter 9
The Beginning of Happiness: Approaching Scores in Graphic and
Text Notation
Virginia Anderson

Chapter 10
Closing the Gap between Sound and Score in the Performance
of Electroacoustic Music
Gregorio García Karman

Chapter 11
Notational Perspective and Comprovisation
Sandeep Bhagwati

Interlude III: The Score beyond Music
Kathleen Coessens

Part IV: Choreographies of Sound
Chapter 12
A Physical Interpretation of a Score in a Listening Attitude
Susanne Jaresand and Maria Calissendorff

Chapter 13
Score as Relationship: From Scores to Score Spaces to Scorescapes
Yolande Harris

Chapter 14
Drawing and the Score
Anne Douglas

Postlude
Kathleen Coessens

Personalia
Index

Format: Edited volume - paperback

Size: 285 × 190 × 20 mm

230 pages

ISBN: 9789058679765

Publication: October 01, 2013

Series: Orpheus Institute Series

Languages: English

Stock item number: 114261

Kathleen Coessens is director of the Koninklijk Conservatorium Brussel, professor at the Vrije Universiteit Brussel, and associate researcher at the Orpheus Institute, Ghent.
Paulo de Assis is artist researcher (pianist, composer, music philosopher) and research fellow at the Orpheus Institute.
William Brooks is professor of music at the University of York, emeritus professor at the University of Illinois, scholar-in-residence at the Newberry Library, and senior research fellow at the Orpheus Institute.