informal musings on methods of notated communication in contemporary classical music
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I argue that creativity is afforded by the constraints notation places on a musical practice.
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A short introduction to the notational approaches of Scottish composer William Sweeney.
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The process that occurs between musical notation and its sonic realisation is often negatively described as an inexplicable ‘gap’. However, I argue that this ‘gap’ affords creativity in notated music.
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Regarding the prepared piano’s changeable nature and bearing in mind ideas of distributed creativity: what actually is a musical instrument?
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Parallels with linguistic theory are explored in this short discussion evaluating the usefulness of terms ‘prescriptive’ and ‘descriptive’ when regarding music notation.
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Understanding that all notation is graphic forces me to find new ways to describe notation — ones that work outside the notational hierarchies still evident in musical discourse today.