Cornelius cardew treatise score pdf

 

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    Cornelius Cardew Treatise Score Pdf

    Treatise [Score] - Cornelius Cardew PDF [35Mb] irtrimuzcomcomp.tk irtrimuzcomcomp.tk 'Treatise is a graphic musical. It's a page graphic score with no instruction – completely in the hands of the conductor Cornelius Cardew Treatise Original Bound Score. Treatise is a musical composition by British composer Cornelius Cardew (– 81). Written between and , Treatise is a graphic musical score book Stockhausen Serves Imperialism (), available in PDF format at UBUweb.

    January Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In age 22 he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. He was one of the few people whom he allowed to work on his scores unsupervised. Under the influence of Marxism he came to believe that the world to which he had belonged avant-garde classical, and free-improvisation was elitist.

    Distinguish symbols that enclose space circle, etc.

    CORNELIUS CARDEW :: TREATISE, performed by the Cardew Trio, maskfest, 1.12.2010

    What symbols are for sounding and what for orientation. Example: The horizontal central bar is the main and most constant orientation; what happens where it ceases or bends? Do you go out of tune eg? Cardew p. The program notes succinctly describe the score and its use. Treatise is a long continuous drawing in form rather similar to a novel.

    But it is composed according to musical principles and is intended to serve as a score for musicians to play from. However, indications of sounds, noises, and musical relationships do not figure in the score, which is purely graphic Each player interprets the score according to his own acumen and sensibility.

    He opens with reference to Wittgensteins Tractatus Logico-Philosophicus and Philosophical Investigations because of the texts application to music. He goes on to describe improvisation as a relationship between performer, audience and music that is lodged within the time-span of its performance.

    He describes his experimentation as a member of the improvisatory group AMM. During the instrumentation of the group expanded far beyond saxophone, piano, violin and guitar. They began using many other instruments and non-instruments, resonant objects made from glass, metal and wood.

    Treatise & Treatise Handbook, By Cornelius Cardew | Musical Compositions | Entertainment (General)

    This period of experimentation seems to have allowed Cardew to consider the role of the improviser as a kind of athlete. This kind of thing happens in improvisation. Two things running concurrently in haphazard fashion suddenly synchronise autonomously and sling you forcibly into a new phase.

    Rather like in the 6-day cycle race when you sling your partner into the next lap with a forcible handclasp. Yes improvisation is a sport too, and a spectator sport, where the subtlest interplay on the physical level can throw into high relief some of the mystery of being alive. Connected with this is the proposition that improvisation cannot be rehearsed.

    Training is substituted for verticaltemporality. He compares music with and without notation and outlines advantages of notation and its absence. He suggests that a sudden absence of notation might leave a performer feeling abandoned. Alternatively it could allow forms of improvisation.

    Treatise (music)

    Cardew has noticed that well trained musicians that can over-interpret the work Treatise in the sense that they might attempt to literally read the score in a method as close as possible to a reading of standard western notation.

    However, he says that graphic artists and mathematicians may be more prepared to creatively interpret the score although they may have less capability controlling a musical instrument and producing their desired sound. Cardew refers to Wittgenstein again and quotes him equating the logical structure of recorded music to the logical structure of a score. Cardew draws the conclusion that an improvisation cannot be scored or recorded within out some loss occurring because of the absence of this structure.

    Who can be interested purely in sound, however high its fidelity? Improvisation is a language spontaneously developed amongst the players and between players and listeners. Who can say in what consists the mode of operation of this language? Is it likely that it is reducible to electrical impulses on tapes and the oscillation of a loudspeaker membrane? Simplicity is highlighted as the most appealing virtue. However, a simplistic musical expression must also subtly express how it was achieved.

    Yet despite this stellar avant-garde resume, Cardew's life took a disconcerting left turn. In he began to study Marxism and, along with some of his Scratch Orchestra comrades, to apply its teachings to his musical activities. He was greatly impressed by English Marxist Christopher Caudwell's essay The Concept of Freedom: But art is in any case not a relation to a thing, it is a relation between men, between artist and audience, and the art work is only like a machine which they must both grasp as part of the process.

    The commercialisation of art may revolt the sincere artist, but the tragedy is that he revolts against it still within the limitations of bourgeois culture. He attempts to forget the market completely and concentrate on his relation to the art work, which now becomes further hypostatized as an entity-in-itself.

    Because the art work is now completely an end-in-itself, and even the market is forgotten, the art process becomes an extremely individualistic relation. The social values inherent in the art form, such as syntax, tradition, rules, technique, form, accepted tonal scale, now seem to have little value, for the art work more and more exists for the individial alone. Recognizing himself in this isolated and self-defeating portrayal of the avant-garde artist, Cardew committed a startling apostasy.

    He turned away from improvisation and indeterminacy and began writing tonal piano pieces based on folk tunes, as well as utilitarian revolutionary songs.

    Even more shockingly, in he published a savage little book called Stockhausen Serves Imperialism and Other Articles, in which he attacked his former idols and accused them of complicity with bourgeois forces of oppression.

    Cardew followed theory with action, and in addition to participating in frequent political activism, chaired a national conference on racism and fascism and in founded England's Marxist-Leninist Party. Mao, announcing that artists and writers should be supporting the good of the working class against the oppressive bourgeoisie, challenged artists to go among the masses and learn their viewpoint, their problems, desires, attitudes.

    He admitted two sets of criteria for judging art, the political and the aesthetic-both important, but the political always primary.

    The artist's task, he said, is twofold: to popularize and to raise standards. The first priority is to give the masses "works of literature and art which meet their urgent needs and which are easy to absorb," and only afterward to raise their standards so that they can appreciate "[w]orks of a higher quality," which, "being more polished, are more difficult to produce and in general do not circulate so easily and quickly among the masses at present.

    The Scratch Orchestra became Cardew's and pianist John Tilbury's workshop for putting such Marxist ideas into practice. As Cardew recounts it in Stockhausen Serves Imperialism, the Scratch Orchestra never raised much of a public following, and many of their concerts were abject failures. Under Cardew's and Tilbury's Maoist prodding, as a solution the orchestra members began to interact more with the audience, taking Mao's advice about learning from the masses.

    The group had originally adopted a policy of "no criticism," but now turned to self-criticism and finally collective criticism, examining each performance with a fine-tooth comb and allowing all members to speak their minds.

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