"Quasiphoric Infinitia," scored for Clarinet in A, Bass Saxophone, and Accordion, ventures into the realms of hyper-maximalism and the aesthetics of imperfection. I present visual constructs that act as a novel lexicon for the performers. These constructs are deliberately ambiguous and singular, provoking a shift in how performers interact with the score. By requiring the musicians to engage with the score's inherent subjectivity, the piece emphasizes an interpretative process that is exploratory rather than prescriptive.
This approach resonates with the broader philosophical underpinning of the piece, which champions an aesthetics of imperfection. By advocating for an interpretation that "favors questions over answers, contingency over certainty, and openings over closure," the score aligns itself with a view of composition and music as a space for inquiry and dialogue rather than definitive expression.
In the elliptical orbit that "Quasiphoric Infinitia" delineates, the score emerges not as a mere prescriptive text but as a textuality—enigmatic, a cipher for the performers to decode and re-encode in a ceaseless play of différance. This score, in its combinatorial complexity and lexical layering, accomplishes what could only be termed as a preservation of flux—imbuing the performative act with a quality not unlike the lambent apparitions that haunt Derrida's own textual landscapes. Here, the composition does not sit comfortably within the binary oppositions of paradisial escape and mundane reality; rather, it oscillates, vacillates, refusing to be ensnared by either pole, challenging the very notion of a fixed compositional locus.
The visual mélange of the score—this mélange that hints at a surreal compositional landscape—serves not merely as an aesthetic choice but as a strategic deconstruction. It is a form of fictionalized truth, a simulacrum where the authoritative stance of compositional macro-narratives is called into question, interrogated under the spectral light of deconstruction. Here, within the woven fabric of the score, lies a reexamination, a deconstructive critique of the sovereign authority traditionally wielded by the composer, the notational system, the very lexicon of musical discourse.
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