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

The Handless Watch: On composing and performing 'Flutter Echoes'

Étude d’un prélude II - Flutter echoes for string quartet is one of the first works to be based on the transcription, into standard notation, of millisecond-faithful micro-temporal data; the work was composed in 2009, premièred in 2010 and recorded in 2011. This article provides a first-hand account of its inception by the composer, Richard Beaudoin, and one of its first performers, Neil Heyde, cellist of the Kreutzer Quartet. The micro-temporal data was collected using the Lucerne Audio Recording Analyzer [LARA], a powerful software developed by the acoustic researchers Dr Olivier Senn and Lorenz Kilchenmann of the Hochschule Lucerne, Switzerland. The object of their analysis, and the source work behind Flutter echoes, is Martha Argerich’s 1975 Deutsche Grammophon recording of Chopin’s Prelude in E minor, Op. 28, no. 4.

The Handless Watch:  On composing and performing 'Flutter Echoes'