My "Fanfare" compositions embrace a hyper-temporal semiology, focusing on tactile interpretations which represent a departure from conventional music notation. Instead of relying solely on visual symbols to convey musical ideas, these scores incorporate a physical, tactile dimension.
I use a unique combination of materials – wax crayon mimicking chalk and housepainter’s gray paint – to create a score that is as much about the physical act of drawing and erasing as it is about the music itself.
A key aspect of these scores is the dynamic process of creation and erasure – the "writing" and "rewriting." The wax crayon, which appears to be chalk, breaks down and fuses with the paint, adhering to the grainy surface of the score. This physicality of the score is not just a means of notation but an integral part of the composition process, allowing for continual revision and evolution of the piece.
The tactile aspect of these scores introduces a new semiological dimension to music. It invites performers to engage with the score not just visually but physically, interpreting the texture and materiality as part of the musical experience. This tactile interpretation adds a layer of depth and complexity, opening up new avenues for creative expression.
The fusion of wax crayon and paint in the score is symbolic of a larger theme in these compositions – the blending of different elements to create something new and transformative. This material fusion is not just a stylistic choice but a statement about the nature of music and art as evolving, dynamic entities.
Epistemic Abstraction
When applied as an interpretive tool for musical notation, "epistemic abstraction" refers to an approach that uses abstract concepts and systems, often derived from disciplines like mathematics and linguistics, to guide performers towards a deeper, more tactile level of musical expression and interpretation
Emphasis on Diagrams and Graphs: Musical ideas are represented through diagrams, graphs, and other visual abstractions. These might indicate dynamics, rhythm, or even emotional tone, but not through standard musical notation. They require the performer to interpret these visual cues in a tactile, experiential way.
Modular and Serial Structures: The use of repetitive and standardized sequences or structures, often drawn from mathematical concepts, guides the performer in creating patterns or sequences in music. These structures might dictate the progression of a piece or the repetition of certain themes or motifs.
Delineations Against Measuring Devices and Templates: Precision and measurement play a key role. The music might be structured around specific temporal or rhythmic measurements, but these are conveyed through non-traditional means, such as spatial diagrams or proportional graphs.
Utilization of Mathematics and Linguistics Universals: Abstract concepts from mathematics and linguistics are used to convey musical ideas. For example, geometric shapes might represent specific musical phrases, or linguistic syntax might be used to suggest the flow and structure of the music.
Signification of Art-Relatedness Through Studio Referents: The use of traditional artistic tools (like pencils, chalk, paper, and blackboards) in creating the score bridges the gap between abstract, theoretical concepts and the tangible act of musical performance. These tools become part of the interpretive process, adding a tactile dimension to the understanding and performance of the music.
In this approach, the performer interacts with the music at a more intuitive, interpretive level. The tactile experience of interpreting these abstract symbols and structures invites a deeper engagement with the music, encouraging the performer to explore beyond the literal and delve into a more personal, expressive interpretation. This method of notation challenges traditional paradigms of musical performance, offering a unique and innovative way to experience and create music.
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