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How did I weave among them in A Treatise Remix?
Cornelius Cardew Treatise Mode The older I get the more inclined I am to think that life’s not about finding the right answers but asking the right questions. Hanrbook the four solos, each performer was invited to realize any page, completely independently of the master plan, according to any chosen interpretational strategy.
Recordings of Treatise For my analysis of various recordings of Treatise, see this post on my blog: When performances adopt a more consistent, literal approach to interpreting the notation, forensically inferring interpretive principles from the musical results is relatively straightforward.
Cornelius Cardew – Treatise Handbook
Thus I included pp. And what can my written intervention offer these perfectly self-sufficient virtuose other than needless complication? Like the differences in symbolicity I mentioned in the previous section, these disjunctions posed a challenge to the original plans for A Treatise Remix.
Such questions reveal how the exercise of comparing Treatise recordings pointed directly back at my own assumptions and methods, rather than revealing the nature of Treatise itself. Do It Yourself All scores for improvisers are permeable; they let contingency in and leave aspects of their internal structure to the performer.
The sounds assigned catdew most symbols in the score — presumably also chosen by the players themselves — are less consistent and more context dependent, varying from page to page.
An example of this can be found in pp. How do you musically interpret a square, a circle, or an object which looks like a bubble car? In vornelius to most of the pieces included in Tactile Pathsit enjoys a rich and diverse performance history, mainstream publication by C. Affirming the relativism of Treatise in this way implies that any interpretative approach, any path through the piece, is in itself valid.
Among the source material there is a wide spectrum of fidelity to the notation as symbols for sound production — from the literal to loose, and everything in between. CardewWith this comment, we come full circle: Indeed making A Treatise Remix revealed far more about my own assumptions and methods than about Treatise per se.
But the same cannot be said of each realization ; not all performances are equally convincing. The format chosen for this comparison was a studio-assembled collage containing multiple recordings of selected pages sounding simultaneously. Ede designs his strategy haphazardly at the outset and does not accept the challenges of his own making. In order to bridge the experiences of Treatise uandbook the inside and the outside, I decided to interweave historical recordings of select pages with original interpretations.
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 content. And just what is that black line which runs through the centre of the score on almost every page supposed to signify?
The distance to the sun does not depend on only one speed; it depends on the route.
Except the central line represents perhaps trewtise performer or a single line of thought. The Aarhaus Sequence Matchless Records.
This precise interpretive strategy was arrived at collectively during rehearsals. I would argue that when one is consequent — when a performance takes its interpretive terms to their limits — performers are bound to find themselves enmeshed in unforeseeable relationships to the score, to other musicians, to cornelisu own habits: For immediately it stands in relation to the thick central stave line, which would correspond in some way to the track made by the man walking.
While those questions began as a rhetorical springboard, I would like to revisit them here, slightly reformulated, as points for earnest reflection.
Whereas corbelius 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. For such corneliux there will be handbok intelligible incentive to invent music or extend themselves beyond the limitations of their education and experience.
I, the director of the project, knew the piece well from the outside but had never played it. Circles represent the Other, the counterpoint in this narrative. However, in the Lange and the BBC recordings, symbols are easier to identify as gestures or discrete events within the musical discourse.
CardewCircles represent the Other, the counterpoint in this narrative. A few examples should suffice to show this problem: Should new versions of p. 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. Another, which emerged crnelius a proposal in post-production from producer Marcus Gammel, was to include informal descriptions of the visual appearance of the score.
However in first-person, on the ground, there is only one direction: