Wednesday 11 December 2014. 12.30-2pm
CM105, Newton Park.
Luke Nickel – Living scores: using memory to erode and transform musical material
Historically, the written score has functioned as the most significant filter between the composer and the performer. Today, experimental composers (often foregoing a traditional written score entirely) use media such as video (Alexander Schubert), social media (Jennifer Walshe) and text (Christian Wolff) to not only transform musical material, but communicate it with performers and audiences. Despite these varied media, there has been little exploration of the human memory as a means of prioritizing, transforming and eroding musical material as a compositional process. In the continuing effort of experimental composers to decouple the score and performance, the human memory represents a largely untapped resource for the transformation of musical material. I propose to map the traditional scoring process onto an entirely oral system using living scores — voluntary human participants who function as living archives and musical scores for my compositions — with the goal of destabilizing, categorizing and ultimately prioritizing musical material. In my paper I will first examine artists working in similar areas (such as Eliane Radigue, Jennifer Walshe, Yoko Ono, Alvin Lucier, Peter Ablinger and Miranda July), and second present a manifesto and preliminary scores, strategies, results and concerns of this new method.
Joseph Buckler – Categories of networking and cueing systems found in composition for performance
Networking and cueing can be found through intuitive and subconscious systems across most musical performances. This study’s area of interest is where cueing and networking systems become creative compositional devices and how these can affect the performers of a work.
This paper explores ways in which networking and cueing can be applied to composition for various situations such as the concert hall, exhibition spaces, the Internet and a performer’s immediate environment. It examines how types of these networking and cueing systems can be categorised, whilst investigating several approaches as to how they can be used as or become creative devices. Ways in which these systems are embraced and exploited by performers, composers and audiences are highlighted in conjunction with composition and rule systems and how these can be interpreted, stretched, altered and become dynamic. The level to which a composer must intervene through composition for performances of this nature to function is approached, alongside an overview of the musical event, visual event and its importance for compositions based on systems of networking and cueing.