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Although it is greatise to categorize these approaches, time is by no means an arbitrary or independent parameter in individual performances. Not a discussion of representing objects.

Treatise Handbook

Here not all visual information in the score, apparently, is employed symbolically in performance. Before and after Section II, the form contains two intermezzi and four solos. CardewA Treatise Remix began with the aim of audibly comparing and contrasting a wide cross-section of Treatise recordings — their styles, self-imposed rules of interpretation, instrumentations, and so on.

How did I weave among them in A Treatise Remix?

Their visual-semiotic meanings change frequently, as for example when a circle acts as a geometric motif on one page, and becomes a musical note on the next. In addition to playing, I also resolved to integrate my own text.

Formats and Editions of Treatise handbook : including Bun no. 2 [and] Volo solo []

Each page has an hndbook duration of ca. If the lifeline is intact on a given page, then the tape collage 15 sounds continuously. The meaning of the notation grew in constant feedback with the individual elements to which it referred in a variety of ways.

Feeney and Horvath In Treatisethe distinction is turned on its head; a voyage of self-discovery is neither incidental nor a telos in itself, but rather an ineluctable consequence of performing trestise piece with integrity, whatever that may mean for each performer.

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Nonetheless, at the level of practice it offered me vindication and a clear foundational principle: Art enters when the musician synthesizes the material. My solution was to zoom out, not focusing systematically on symbols and rules but rather on a story hancbook in the progression of the notation from beginning to end. This October recording of the work – not the complete score, as Petr Kotik’s liner notes here make clear it would have been nice to know which pages were performed For reasons of density described above, this section lasts for 4: Performances of Treatise are best undertaken and assessed on their own terms; grafting strategies or values from one interpretation to another is unlikely to bear fruit.

The fact that two or three versions of a given page shared some interpretive trait X was no guarantee they shared any other qualities that could establish the thread I counted on finding in the fog.

Why — Self-evaluation Such questions reveal how the exercise of comparing Treatise recordings pointed directly back at my own assumptions and methods, rather than revealing the nature of Treatise itself. These recordings are more or less listed in my assement of their value. I shall return to this point.

Whereas the line is in a state of continuous transformation, the circles suggest single self-contained objects. Even when I was able to identify the beginning and end of a particular page in multiple recordings, substantial links among different interpretations were mostly circumstantial.

One hears repeated events, percussive outbursts, and glissandi corresponding proportionally to symbols on the page. Rather than being an inconvenience, I think and I’m sure the rest of the group would agree that this was a liberating factor – especially in sections such as pagewhen the abstractions of the score suddenly take on a feline character. Although I was unable to find any direct correspondences between the score and the interpretive content other than a short Luftpause toward the end, I continued to sense that what I was hearing could or should correspond because the pacing of the music was comparable with the density of visual information in the score: From here, I hypothesized, one might begin to theorize the gaps between notation and performance that Treatise so relentlessly interrogates.

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At each break in the line he would start a new sound. If a circle is present on a given page, then the live ensemble plays.

A Treatise Remix Handbook | Tactile Paths

In addition to its regular concert appearance and many recordings, it is often taught in university courses and workshops throughout Europe and the US. Carfew chamber realizations of p.

Pictures of Music flash. If, for the improviser, music is fundamentally unscripted — or unscriptable — why would she compose or perform with notation at all? CardewA line or dot is certainly an immediate orientation as much as a thread in the fog. This historical recording offers a unique perspective to hear Treatise as interpreted by Cardew’s contemporaries.

Also cardwe Petr Kotik on Mode: Since there was no tape present on p. A score with backbone.

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