Cardew_Cornelius_Treatise_pdf (file size: MB, MIME type: application/pdf). Expand view. File history. Click on a date/time to view. Treatise & Treatise Handbook, By Cornelius Cardew – Download as PDF File . pdf), Text File .txt) or read online. Treatise & Treatise Handbook, By Cornelius. This new book contains the collected writings of Cornelius Cardew including The Treatise Handbook, The Tigers Mind score, Towards an Ethic.
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As in the case of VC, even a literal reading with little overt improvisation can produce a music of integrity that reinvents itself through notation in performance. Even when I was able to identify the beginning and end of a particular page in multiple recordings, substantial links among different interpretations were mostly circumstantial.
Degrees of Symbolicity There is a great difference between: At each break in the line he would start a new sound.
Or, if not absolutely ossified into the bony hardness of subphylum Vertebrata’s prime organizing architecture, perhaps Cardew’s Treatise is equipped with the mutable structuring agent of the phylum Chordata: Indeed making A Treatise Remix revealed far more about my own assumptions and methods than about Treatise per se.
Conversely, qualities irrelevant to Treatisesuch as recording artifacts or the simultaneous sounding of a particular instrument in different ensembles, tended to audibly link recordings much more clearly than interpretive hnadbook. The Life of the Score. So many provocative, and occasionally beautiful, recordings and cardrw have arisen vardew the score that one can hardly deny its power, at the very least, to inspire.
It would gratify me to sell the manuscript to some sleepy bourgeois at an inflated price and thus receive at least some compensation for that waste.
Treatise published in Sound American 12 Wooley a, b bear this out abundantly. I began by collecting a library of fifteen commercial recordings, six archival and broadcast recordings, and a few dozen more published online.
His left-to-right reading is consistent, yet the distribution of symbols on the page does not manifest in temporal proportions. It resumes in p. If one embraces this reality, bears witness to it, one is improvising regardless of the degree of detail with which one translates the notation into sound. This episode continues through p.
File:Cardew Cornelius Treatise pdf – Monoskop
And, although Treatise has often attracted free improvisers, we’re definitely not talking anything goes n’importe quoi I have serious doubts about some of the other available recordings of the work, though ; you can hear the players thinking, both in the long stretches of silence and in their explorations on instruments “none of us really knew how to play. The format chosen for this comparison was a studio-assembled collage containing multiple recordings of selected pages sounding simultaneously.
Christopher Williams Tactile Paths. The Lifeline and the Circles I began with the score. If the journey were narrated from the outside, in third person, we would see twists and turns that the page could not contain.
The remainder of this text will thus concern itself principally with the realization of A Treatise Remix as a creative rather than comparative enterprise. Affirming the relativism of Treatise in this way implies that any interpretative approach, any path through the piece, is in itself valid.
I, the director of the project, knew the piece well from the outside but had never played it. But before leaving the survey behind, I would like to turn briefly to its broader impact on the remix; after all, my source material was not merely grist for the mill. Ede, or at the other end of the spectrum, Sonic Youth. Resisting Authority and the Cults of Scientism and Celebrity.
Not the exactitude and success with which a notation notates a sound; but the musicalness of the notation in its notating. Our tenuous fumbling around for buttons combined with the thin, silly sounds of the playback come to define the intermezzi over and above our interpretation per se ; the situation speaks louder than the structure.
There were conventional trends e.
Because there were several recordings of these pages, three of which FORMANEX, WhoThroughThen, Cardew BBC were individually dense, I chose to leave time for different recordings to emerge without overcrowding one another, using the graphical elements to suggest rough changes of overall density and cardeew. We worked regularly over a long period of time, ending up with a 2-hour version of the piece A few examples should suffice to show this problem: Neumann had played it a few times including one intensively rehearsed concert with Keith Rowe.
Its long historical shadow, and the variety of ways performers have dealt with its notation, make it uniquely suited for such an inquiry. From here, I hypothesized, one might begin to theorize the gaps between notation and performance that Treatise so relentlessly interrogates.
One hears repeated events, percussive outbursts, and glissandi corresponding proportionally to symbols on the page. Had I limited my study to extant recordings and the discourse around the piece, I would have most certainly answered in the negative. The instructions were a guide which treatiwe each handboik creative instinct on a problem to be solved – how to interpret a particular system of notation using one’s own musical background and attitudes. A line or dot is certainly an immediate orientation as much as a thread in the fog.
Kotik met Cardew in Warsaw inand they began exchanging scores by mail, including Treatisewhich was a work in progress. The second line of difference, in which hardly any two recordings are alike, is time. Experimental Music Catalogue The number 34 at the beginning of p.
Musical references in the notation are emphasized to a grotesque degree, but many nonmusical idiosyncrasies are apparently ignored e. CardewA line or dot is certainly an immediate orientation as much as a thread in the fog. CardewWhereas semantic vagaries in many scores for improvisers lacking conventional notation 2 or comprehensive written legends can be partially resolved by consulting the composer or performance practice, Treatise makes a feature of, and perhaps depends on, interpretive murk.
These were richer and greater in number, and, as I will explain, they crippled my initial strategy for the collage. Kesten used a CD player amplified through a tin bottle, Neumann used a digital recorder amplified by pickups on her self-designed inside-piano instrument, Schulkowsky used a noisy, semi-functional cassette recorder, and I used a hand-held radio tuned to a mini-FM transmitter.
I shall return to this point. Not only must a player decide how to interpret the notation at the molecular level; she must, in the context of an ensemble realization, negotiate its implementation with others, either verbally during rehearsal, on the fly during performance, or both. The second task was then to locate these trends — to comb through the library and identify traits common to multiple recordings.