Thessalon
For Solo Guitar
Link to the PDF Score File (Hi-Res)
The score for Willing Ally for piano, with its combinatorial notational architecture—encompassing Western notation, a mathematical codexus, and the concept of "Combustione"—represents a profound tension between structure and expression, order and transgression. In many ways, this tension reflects the broader conflict between instrumental rationality and communicative action that lies at the heart of contemporary aesthetic practices. It is a homage to Alberto Burri, whose works disrupted the boundaries of traditional artistic form, and here, in musical notation, we see an analogous process: the confrontation between systemic order and the individual’s capacity for expression within it.
The Score as a Rational System
At its core, Willing Ally invokes a strict adherence to a system of signs, much like the way modern societies are governed by formal structures and institutions. The combinatorial notational architecture, which fuses the well-established Western notational system with the abstraction of a mathematical codexus, operates as a system of rules. These rules, like those of any rational system, dictate the permissible actions of the subject—in this case, the performer.
This rational system reflects what I have elsewhere described as instrumental rationality: a form of reason concerned with efficiency, predictability, and control. In Willing Ally, the performer must navigate the score’s mathematical codexus, which functions like a set of algorithms or formal procedures that must be followed to produce the desired result. There is no room here for improvisation or deviation; the system imposes its logic on the performer, compelling them to act in accordance with its rules.
And yet, this system is not merely a representation of rationality; it is also a demonstration of the limits of rationality. Like many modern structures, the score for Willing Ally does not offer the performer freedom within the system—it places them in a position of unthinking submission to the abstract rules that govern their performance. The performer’s agency is subordinated to the logic of the notational architecture, much like the way subjects in modern bureaucratic systems are subordinated to the logic of institutional rules.
Combustione as the Disruptive Element
However, within this system of rules lies an inherent contradiction. The inclusion of "Combustione," a reference to Burri’s use of fire as a destructive and creative force in his visual art, introduces an element of unpredictability and disorder into the otherwise rational framework. Combustione here symbolizes the interruption of the formal order, a disruption of the logic of the score that reveals the fragility of the system itself.
This reflects a broader philosophical question about the role of disruption within structured systems: Can a system of rules that seeks to govern and contain human action ever fully account for the creative, expressive impulses that lie beyond rational control? The answer, in Willing Ally, seems to be no. The combustive elements embedded within the score act as moments of resistance, where the system’s rationality is undermined by forces it cannot fully control.
In this way, Combustione in Willing Ally serves as an example of communicative action—a form of interaction that transcends the instrumental logic of systems and creates space for genuine human expression. The combustive elements, while seemingly destructive, are in fact creative; they open up new possibilities for the performer, allowing for moments of rupture where the rigid order of the score gives way to something more fluid, more human. This tension between rationality and expression mirrors the broader tension between system and lifeworld in modern society.
The Lyric Aspiration and the Expansion of Grammar
The score’s reliance on rules, while simultaneously assaulting, exaggerating, and exploiting those very rules, brings to mind the dynamics of modern lyric poetry. It aspires not merely to add new rules but to interrogate the very nature of rule-making itself, to expose the contradictions and limitations inherent in any system of signs.
In Willing Ally, the score functions in a similar way. It does not merely introduce new notational elements into the existing Western tradition; rather, it seeks to question the very foundations of that tradition by pushing its internal logic to the point of rupture. The mathematical codexus, for instance, might at first seem to represent an expansion of the grammar of musical notation, but it quickly reveals itself as something more complex: it is a system that exaggerates its own rationality to the point of absurdity, where the rules themselves begin to lose coherence.
This is where the lyric aspiration of the score becomes clear. Willing Ally does not seek to create a harmonious balance between rational order and creative expression; instead, it foregrounds the tension between these two poles. The performer is caught in this tension, suspended between the rational demands of the score and the disruptive force of Combustione. In doing so, the score invites the performer—and, by extension, the audience—to reflect on the contradictions inherent in systems of order and the ways in which those systems both enable and constrain human agency.
Yet, just as individuals can resist the power of institutions, so too does the performer in Willing Ally find moments of resistance within the score. The combustive elements, by exaggerating and distorting the rules, create spaces where the performer can push back against the system, where the rigid order of the score breaks down and allows for new possibilities of expression. This dialectic of subjection and resistance is central to the score’s aesthetic and philosophical project: it reveals the ways in which systems of order both constrain and enable human action, and it invites us to reflect on the possibilities for resistance within those systems.
Conclusion: Willing Ally as a Communicative Act
As we consider the implications of Willing Ally, it becomes clear that this is not merely a score for piano but a reflection on the broader dynamics of power, agency, and communication in modern life. It asks us, as both performers and listeners, to question the systems that govern our actions and to seek out new possibilities for resistance and expression within those systems.
