Issue #5

Parametric polyphony in recent guitar music

This article approaches the performing/interpretative issues arising from the performer’s relationship to models of extended/multi-parametric notation in guitar music. Two works are examined: Aaron Cassidy’s The Pleats of Matter (2005-7) for electric guitar and electronics and Wieland Hoban’s Knokler (2008-16) for solo classical guitar, although I argue that Hübler’s Reisswerck (1987) for solo classical guitar can be regarded as an antecedent Finally, I discuss the performer’s relation to these models of notation beyond the mere exploration of new playing techniques.

Parametric polyphony in recent guitar music

Fingers, Fragility and Freedom – Christian Wolff’s Pianist: Pieces

This article examines two movements of Christian Wolff’s Pianist: Pieces (2001) to illustrate how in this work the physiology of the pianist’s hands limit and shape the music both in terms of what is played (which sounds are heard) and how they are played. Specifically it looks at how my hands and my interpretative preferences determine what is played and heard when I am the pianist in these pieces.

Fingers, Fragility and Freedom – Christian Wolff’s Pianist: Pieces

Multiphonic Mobile

Multiphonic Mobile is an improvised work for an oboist-in-motion and a mobile. For its creation, the work uses a range of pre-selected multiphonics and sound distortion techniques (flutter-tonguing, embouchure modifications etcetera) which are read from the planes of the mobile, alongside improvised movements which are dictated by the mobile.

Multiphonic Mobile

Communicative movement in contemporary chamber music: hand werk in the rehearsal of new works by Thierry Tidrow and Georgia Koumará

Movement, that essential element for any musician, plays a distinct role in new chamber music. It is one of the ways that musicians communicate and it is a choreography that leads and shapes the performance of the work. We use movement to help guide each other through the piece, to indicate shifts in texture and dynamic, and to breathe and find a common pulse. It is regularly annotated in a precise manner, clarifying where to look or who should be given a signal, and each annotation reflects the needs of that particular instance in the score. Notation guides our movements just as we guide each other.

Communicative movement in contemporary chamber music: hand werk in the rehearsal of new works by Thierry Tidrow and Georgia Koumará