NEW WRITINGS OF SOUND AND MUSIC// Tomomi Adachi // Why you scratch me, not slap?


*Nom :Adachi

*Prénom :Tomomi

*Site  :

*Titre de l’œuvre : « Why you scratch me, not slap? » Choreography for solo guitar player
*Instrumentation ou modalités d’interprétation : Electric Guitar

It is a video score. An attached file is an instruction for the interpretation.

*questionnaire :

  1. How would you describe this form of writing sound and / or music?

    This is a video score. The score only indicates hand movements of performer, not any sound. This notation intends a new method of indeterminacy. It is not related with sounds directly. On the other hand, it can describe musical time structures clearly. Mathematical expansions and reductions with a retrograde, which are strictly connected with a tradition of canonic music, are applied to the movements with video edits. Also if the score is projected on stage, audience can observe a relationship and an internal process between the score and the interpretation distinctly. The idea of this score came from a viewpoint that focus on visual aspects of musical performance. On this point, this piece is intermedia between dance and music, also explores the relationship between moving images and music.

    2. How do you think your proposal can be interpreted?

    Played with an electric guitar or amplified acoustic guitar on a table. While seeing the video, imitate recorded movements of hands on the guitar as precise as possible. But minimum arrangements and adjustments are possible. The score is projected for audiences in real time. For details, see the attached instruction.

    3. What meanings or additional level provides this particular form of writing to the performance and / or to the interpretation of the work?

    This idea of this score has two historical references. It integrates them. One is obviously thoughts of John Cage. An invention of a prepared piano caused an interesting division of notation and sound. Scores for prepared piano is just standard piano scores, but people cannot find what sounds are made from that conventional notation. The score only indicates movement of fingers. Then the score became a description of actions, not for sounds. Also David Tudor’s interpretation of John Cage’s « Variations II » is important in this context. Operations of the score literally suggest parameters of sounds, nevertheless, Tudor used the score to decide what actions he should make.

    The sounds are just a consequence of the actions. Another reference is a tradition of Tablature of guitar (and lute). It is a reason a guitar is used as an instrument in this piece. Tablature has a unique possibility to distinguish a performance level and a phenomenal level of music, it is an operational notation system.

20. août 2013 par Mathevet Frédéric
Catégories: New writings of sound and music | Tags: , , | Commentaires fermés sur NEW WRITINGS OF SOUND AND MUSIC// Tomomi Adachi // Why you scratch me, not slap?