What’s the score? Sound Thought Festival Devising

THIRD MEETING: Monday 31st January 7pm-9pm at 1st Floor 58 West Princes Street
FOURTH MEETING:Wednesday February 2nd 6pm-9pm at 1/1 61 West Princes Street
TOWARDS: 2hr Wshop at 3.30pm and 50min performance at 10pm at ‘The Arches’ Venue on Friday 4th February 2011

AN ALMOST BY ACCIDENT AGREEMENT TO DO A WORKSHOP AND PERFORMANCE AT THE UPCOMING ‘SOUND THOUGHT’ FESTIVAL OF MUSIC AND PERFORMANCE RESEARCH

A:my initial vague proposal…
for a group to make drawn or collaged scores, live and available to the audience visually, projected perhaps, and for the musicians to interpret them and for the relationship to be reversed, drawing or collage in response to the orchestra. Or both simultaneously working and responding together? It is a simple idea, the outcome will always be unique and is an opportunity to explore the relationship between image and sound, transmission and response (which is the theme of sound thought 2011),

they responded with this and have programmed workshop time and performance time:

I wonder if you would be interested in the following:

  • The creation of scores being a workshop open to festival participants/audience, lead by yourself/your group
  • The improvised instrumental performance being similarly open for festival audience to join – but billed as part of the performance programme for the festival.

Ideas for playing with this simple notion?

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8 Responses to What’s the score? Sound Thought Festival Devising

  1. Anonymous says:

    “A musical notation is a language which determines what you can say;
    what you want to say determines your language.” [Cornelius Cardew 1961]

  2. J says:

    Shall we identify themes to “transmit”/communicate or to explore
    “SCORE”
    “INSTRUMENT” “PERFORMERS” “AUDIENCE”
    a
    b
    x
    y
    a and b
    will there be a pre determined score?
    Created at the workshop?
    a and b
    Will the performance be the creation of the score
    a and b
    Do we reject the notion of score completely

    Strong conditions will perhaps be helpful
    Any defined instruments will exclude people
    Who feel unmusical in that way including
    Voice etc

    UR
    CAN
    ANYONE
    REMEMBER
    WHAT
    WE
    DO?

    Defined outcome?
    Expectation is nessecary for failure to occur
    Is total abandonment of expectation possible!
    GO DEEP!!!

    Do we want to identify the distinctions between x and y? how? Spatially
    (stage/chairs)? Individually (giving each person a random label as they
    arrive)?

    DO MOVING FREELY AND CONSCIOUSNESS OF CONTEXT VOID EACH OTHER?

    A SCORE AS APPLYING CONDITION TO…

    dibble
    dibble

    IS A COLLECTIVE (SCORE) POSSIBLE WHICH IS AFFIRMING OR/NOT
    SUBLIMATING THE SELF FOR A (CONTRIVED) WHOLE?

    ON HOW TO INDUCE CONFUSION

    The exchange of ideas perhaps unrelated to music is perhaps more musical than any
    musically intentioned

    IMPROVISATION

    A BIG YES/NO TREE
    AND A COIN

    bibble
    bot

    IDEAS
    Arising from
    ACTION

    TRANSMIT
    RESPONSE

    DESCRIBE THE MATERIAL CERTAINTIES AND LEAVE IMPLICIT THAT
    EVERYTHING ELSE IS UNKNOWN
    Studio space
    Workshop 1 and half hours
    Performance 30 minutes

    (Glasgow open school
    +
    workshop)
    +
    audience
    =
    ??????????

    SCORE

    AS A FRAMEWORK FOR
    RESEARCH/
    IMPORVISATION

    The loosness of score
    A soft bed of knowledge from which we act?

    to ask shound thoug…

    will there be a way of knowing numbers of the workshop?

    Musical scores as
    Visual art
    Jayne Norrie
    ????????????

    to ask ourselves and maybe tell them soon…

    people have paid… expectations…?
    Expect to learn something
    It’s not that.. we should explain?

    Seems important to prepare those involved..
    We are not aiming to achieve… a pre determined outcome
    Failure?
    Is a success?

    .x.

    .x.

    .x.

    .x.

    .x.

    .x.

    .x.

    .x.

    .x. .x. .x.
    .x. .x.
    .x.

    .x.

    .x.

    .x.

    .x.

    MEEEEOW

    ?????????

  3. liamcasey says:

    NON-CONCERT Anonymous improvisation without instruments.

    Concert: 1660s, “agreement, accord, harmony,” from Fr.
    concert (16c.), from It. concerto “concert, harmony,” from
    concertare “bring into agreement,” in L.*

    If a concert is based on “agreement, accord, harmony,”, then a non-concert is based on disagreement, discord, and noise. Non-idiomatic improvisation is supposed to treat all music as possible material for improvisation. But music is never just about music. In a non-concert we could use everything possible as material for improvisation: power relations, ideas, concepts, the context, history, architecture, our bodies, affects, desires, sex…

    We don’t need instruments that would mediate our relation to each other and reinforce ourselves as musicians. Whether we want it or not, we all are always already performing in some way or another. There is no neutral position or activity. The question is whether we are performing an established role (such as audience or performer) or something different altogether? Something that goes beyond individual or collective authorship.

    In today’s concentration camp of forced participation, where everybody in some way or other is producing some kind of value (economical, experiential, cultural…) to fall back on the notion of an abstract audience, which takes its distance or is simply the observer of an object, is no longer possible.

    In whatever situation we are in, we are producing sounds however quiet these might be. Instead of judging these sounds aesthetically (which only reinforces the idea of individual taste), can we listen to these sounds or produce some new ones, in order to try to understand better what situation precisely we are living through and change it?

    We can produce a different set of social relations accelerating the conflict of the individual versus the collective. Lets forget about music and musicians for the time being, and produce a social noise that cancels the fetishisation of abstract sounds. Lets move together towards the unwanted (musically, aesthetically, socially…).

    If music is supposed to be organized sounds, then noise can
be disorganized listening. Anything could happen if we make it happen but if the situation turns out sterile for you, blame yourself for it.
    Everybody welcome!

    http://www.etymonline.com/index.php?search=concert&searchmode=none

  4. P says:

    Music is about more than just Music
    Quoted in ‘Education is a duty’ Wine and Cheese Appreciation Society
    It might seem strange to almost ignore the content of the subject when it comes to its purpose for the state. However, this ignorance towards the content is not our invention: ‘Music is a unique form of communication that can change the way pupils feel, think and act. Music forms part of an individual’s identity and positive interaction with music can develop pupils’ competence as learners and increase their self-esteem. Music brings together intellect and feeling and enables personal expression, reflection and emotional development. As an integral part of culture, past and present, music helps pupils understand themselves, relate to others and develop their cultural understanding, forging important links between home, school and the wider world. Music education encourages active involvement in different forms of music-making, both individual and communal, helping to develop a sense of group identity and togetherness. Music can influence pupils’ development in and out of school by fostering personal development and maturity, creating a sense of achievement and self-worth, and increasing pupils’ ability to work with others in a group context. Music learning develops pupils’ critical skills: their ability to listen, to appreciate a wide variety of music, and to make judgements about musical quality. It also increases self-discipline, creativity, aesthetic sensitivity and fulfilment.’
    (http://curriculum.qca.org.uk/key-stages-3-and-4/subjects/key-stage-3/music/programme-of-study/index.aspx?tab=1, emphasis added) In all that personality building, it’s hard to find references to music. It is plausible that most music teachers do not share the disinterest in music expressed in the National Curriculum. However, the fact that teaching music is justified this way is telling about what the authors expect to be the state’s interest in school education.

    Are we similarly interested in things other than the content of the subject? How does our instrumentalisation of music making differ from that of the national curriculum’s?

  5. S too says:

    We could invite folk to do chance collages in response to the work as well. Surrealist Han Arp did some mad pieces where coloured paper falls and is glued into position, perhaps on a wall canvas or screen of staves?

    As the theme is action and distance, would it be interesting to have skype involved some how? There is an interesting score I’d like to pitch see you guys tonight.

  6. S says:

    Score for Devising A Score

    There is A and B or A and A or 1A and 20B or A and B and C
    There is CONDUCTOR and PERFORMER or AUDIENCE and PERFORMER or PLAYER and PLAYER or PLOYER and PLAYER or PLAYER and PLAYED

    There is…..?

    6.00pm-6.20pm: Babble
    PART 1 |6.20pm-630pm: Two sides of a line, half on each side, on side A there is visually malleable material on side B there are performers and a scattering of ostensibly musical instruments
    PART 2 |6.35pm-6.45pm Half the group are A – The other half B -A are conductors -B are performers -the objects from part 1 lay strewn
    PART 3 |6.50pm-7.00pm Two sides of a line, half on each side, there doesn’t seem to be a difference in the situation of A or B Instructions: Compose (Visually?) Perform (Sound?)
    DISCUSS |7.15pm-7.30pm In groups of 3 or 4 -Propose a new score
    DISCUSS |7.30pm-7.45pm Wide discussion -Propose a new score
    NEW SCORES | 7.45pm – 8.45pm with discussion to end

    • P says:

      So
      improvisation
      improvising is what you do all the time-making decisions on the spot/relying on intuition/interacting with other people so Improvisation is an attempt to build a critical engagement with the conditions of our improvising. We are socially conditioned by the relations of capitalism, we are reproduced. We are formed into habitual selves. So to do improvisation we need to look at the framework for our improvising.

      What is free improvising without accepting there are forces that bind us? Aesthetics is one of these.
      Lets bring the struggle to the fore, let us unearth the framework and carry its muddy burden- the presence of risk in the daring to go together. The self-sacrifice inherent in the forming of the whole. This sacrifice not as choosing to have less for the benefit of some-one else but as daring to go together in the pursuit of transformation. Not as a redistribution of the conditions but as a insurrectionary redefinition of the conditions.

      Q:Does this neccessarily involve the supression of self-expression?
      A :

      Intuition. Body memory. Reflexivity. ‘let’s start the war at the level of the membrane’
      Capitalism even has appropriated our senses now and puts them to work in its own reproduction. Let’s trash the medium of our communication…

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