Partitions suspendues, partitions circonstancielles, partitions graphiques et partitions étendues : l’œuvre comme re-diagrammatisation ‘ecopraxique’

Plasticien ouvert à toute mutabilité, mon travail artistique est le travail d’un « bricoleur » enchevêtrant les supports qu’ils soient numériques, picturaux ou sonores, comme le vecteur d’un langage plastique indocile. N’ayant jamais voulu choisir entre les arts plastiques et la musique, je mène un travail artistique où se contaminent, se rapprochent et se confrontent arts plastiques et pratiques musicales.

Dans cet atelier transdisciplinaire, la notion de « partition » (Score) s’est rapidement imposée comme le lieu privilégié de « précurseurs sombres » singuliers. En effet, « sous-produit » ou « objet artistique mineur » (la partition est aussi une « recherche de son propre point de sous-développement »), la partition est la condensation, la précipitation (au sens chimique du terme), de branchements fautifs et de nouveaux raccords entre des percepts des affects et des concepts très hétérogènes. Dans notre atelier, ces partitions se constituent autant d’images que de sons, autant de dessins que de vidéo que de processus interactif ou autogène.   

Nous proposerons une démonstration sonore et visuelle de “partitions” et nous montrerons comment celles-ci engagent des « agencements » en amont de leur réalisation. Des surfaces sensibles d’inscription sur lesquelles on fait l’exercice de la « notation », c’est-à-dire de l’inscription du sensible « comme il tombe ». Les partitions sont des révélateurs (comme on le dit de la photographie) d’accidents et d’interférences, en amont de leur écriture, comme en aval de leur interprétation.

À partir de ces exemples précis nous montrerons comment la « partition » peut être comprise dans le sens étendu que donne Deleuze à la notion de diagramme. En effet, par la perspective d’interprétation que le concept de partition mobilise ensuite, elle ouvre vers de nouvelles lignes de fuites et travaillent à une re-diagrammatisation des signes en présence et récoltés. En cela la « partition » s’opposerait à cet autre diagramme nommé « machine abstraite » et qui referme toutes nouvelles possibilités.

Au contraire, les partitions que nous mettons en œuvre sont ces objets ambigus qui ne sont pas seulement descriptif mais, tout à la fois « ingérant, digérant, redistribuant » s’ouvrant vers des lignes de fuite. La partition apparaîtra dans cette description comme une pratique du démontage, « constituant autant de points d’émergence ou de créativité, de conjonctions inattendues, de continuums improbables », ouverte à toutes les métamorphoses (shapeshifting) et faisant de l’œuvre une prégnance, une actualisation temporaire et collective révélée à égale importance par tous les acteurs-réseaux de son apparition.

Nous choisirons de mêler à l’analyse, quelques exemples d’interprétation live et/ou enregistrée pour faire de ce moment un moment d’échange sur une recherche indissociable de la pratique. Nous nous appuierons sur

(1)        les partitions circonstancielles (underscore) : partitions nomades, écriture dessinée sur le motif (sonore).

(2)        Les partitions suspendues, partitions mutables et interactives, qui propose une re-diagrammatisation des signes en présence qui dans le jeu performatif de sa réalisation engage la fabrication de « nouvelles possibilités de fait ».

(3)        Musique Maigre et musique de poche : recherche autour d’une musique décroissante et écologique.

Ceci n’est pas la musique: Laying the Groundwork for a Schizoanalysis of Brian Ferneyhough’s Carceri D’invenzione I (1982)

The interaction between composer and performer, performer and audience, recording and audience, and memory and active recall, form a complex rhizomatic web that locates the phenomenon of music in a constant process of becoming. All aspects of musical creation, performance, and recollection are locked into various artefacts that can be seen as tracings (notations, the vibration of air, a memory) that, to be activated as music, must be returned to the map of temporally bound perception. This act generates yet another tracing through the act of writing (to the page, to the air, to the memory) that is frequently mistaken for the phenomenon of music.

By taking Brian Ferneyhough’s Carceri d’Invenzione I (1982) as a case study, this presentation will demonstrate how Deleuze and Guattari’s theorems of deterritorialisation can be applied to the different states of becoming present in the musical act (Delezue and Guattari 1988). The composer’s own writings (Ferneyhough 1995) and analysis of his sketches (Toop 1994; Fitch 2013) will illuminate the creative act that resulted in the published notated score (Ferneyhough 1982). Discussions around performance practice and the interpretation of notation (Fitch 2013) will similarly explore the act of realisation into sound. Finally, research into the perception of sound and the functioning of musical memory (Hallam, Cross, and Thaut 2009; North and Hargreaves 2008) will be employed to propose a similar analysis of how specific passages in the work may be perceived and remembered.

This attempted schizoanalysis contributes to the literature on the ontology of the musical work (e.g., Goehr 1992) and attempts to function as an avant-garde aesthetic, engaging directly with creative practice and attacking an Academy that valorises the past to the detriment of the present.

References

Deleuze, Gilles, and Félix Guattari. 1988. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press.

Ferneyhough, Brian. 1982. Carceri d’Invenzione I. New York: Edition Peters.

—. 1995. Collected Writings. Edited by James Boros and Richard Toop. Amsterdam: Harwood Academic Publishers.

Fitch, Lois. 2013. Brian Ferneyhough. Bristol, UK: Intellect.

Goehr, Lydia. 1992. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press.

Hallam, Susan, Ian Cross, and Michael Thaut, eds. 2009. The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.

North, Adrian C., and David J. Hargreaves. 2008. The Social and Applied Psychology of Music. Oxford: Oxford University Press.

Toop, Richard. 1994. “‘Prima le Parole . . .’ (On the Sketches for Ferneyhough’s Carceri d’invenzione I–III).” Perspectives of New Music 32 (1): 154–75.

The Emergence of the Interpreter in the Preparation and Performance of Unity Capsule for Solo Flute by Brian Ferneyhough

My paper will attend to the emergence of the interpreter and the repositioning of the contemporary music score from a Deleuzian viewpoint. The manuscript of Unity Capsule is a highly detailed and labyrinthine one that embodies both resistance and provocation for the performer. In my paper I will explain the processes I embarked upon to learn Unity Capsule and adopt the Deleuzian interpretations of résistance and création to articulate the aesthetic and technical demands the piece places upon the player. As part of this process, I will also chart how the performer emerges from the score to challenge hierarchical preconceptions pertaining to the performer–composer relationship.

The perspective I will adopt in this paper is an autoethnographic one that will interleave film excerpts of Deleuze as himself, taken from his final project, the Abécédaire, directed by Pierre-André Boutang. Alongside, there will be a complete performance with technical demonstrations of the iconic and “impossible” Unity Capsule by Ferneyhough. This will include projections of my annotated score as well as explanations of my schematics and the conceptual trajectories that led me to my interpretation. My purpose is to open an interrogation into the score-object, the existence of the performer in this new territory, and the implications of such an immersive experience on collaborative practices in the future.

Re-Notations III: Schumann’s Kreisleriana, I Molto Agitato

What is a score? What is notation? What is the function of notation? These ontological questions assume that we can capture some essence of a particular thing. But essences can transform and thus we have to dismiss the concept of essence, or transform it with difference à la Deleuze. The answer to such questions is therefore an invitation to experiment with transformations.

If we say that a score under normal circumstances has the potential to release a certain sound world through the engagement of performers, then we must say that the Re-notations project does not release an audible world but a visual world of patterns through the engagement of particular diagrammatic relations. Thus, notation has been transformed in the sense of direction, aim, and function. The notation employed by the Re-notations project does not aim for performance and sonification, rather it contemplates the materiality of performance; it looks back on a particular musical situation, a specific musical location, and fuses time and spatial elements. Is it still notation? “Is” is the wrong word. This way of looking (notating) is both deterritorialisational and reterritorialisational. By extracting the specific stratum of the musical situation in question and replacing/releasing it into another notational context, the “music” or certain music forces escape for a moment and we experience the interplay of deterritorialisation and reterritorialisation (both of notation itself and the music being notated). At the same time—the multidimensional potential of music is intensified—music is always becoming (even the classics).

Re-notations is a project/machine that re-notates classical piano masterpieces from a specific angle and with an entirely different aim from the original. It is notation that folds itself onto other notations, other scores, other musics, examining their signifier–signified relations with materiality. Re-notations are always in-between, they do not have their own music; they relate, they repeat, they allow escape. Re-notations focus on the materiality and physical context of the works examined and give us a specific perspective on music, a perspective that maps out the activity in space and time of the physical materials involved: hands and fingers on specific locations on the piano keyboard. Through this, the intensity and density of the involved activity is revealed as an overcrowded space of movements.

A pattern emerges, but not from design or from an author but from a specific diagrammatic relation. Music seen from this perspective is constantly occupying the same locations where actions keep folding one another, repeating differences. A performance of spatio-temporal multiplicity is disclosed. Each keystroke (depression) is accounted for as a link between a spatial location on the keyboard and a temporal axis. Exhausted location, excessive quantity, superimpositions, and interpenetration become the subject of this notational act where the relationship between hands and keyboards, time and materiality, are put to the foreground. The “score” is becoming an abstract, virtual, diagrammatic “recording” of the physical and material situation the music demands: a limited number of space-points are occupied and activated in specific temporal order. This order becomes obscure within a multiplicity of condensed locations. This is the escape of a clandestine stratum of a musical multiplicity (a slice). Thus, notation reverses or diversifies its direction and becomes an active post-performance activity, not instructional, not authoritative, but speculative, reflective, and itself performative.