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(DARMSTADTLECTURE 1988)
BRIANFERNEYHOUGH
IN
The Tactility
of Time
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prerecorded tape. In pursuing this goal it may be that I will come a personal step further in reestablishing such topics as possible areas of
practical/theoreticaldiscourse in such contexts as this.
Mnemosyne (the eponymous Greek goddess of memory) forms the
final part of the evening-filling Carceri d'Invenzionecycle after Piranesi,
which was given its first complete performance at the 1986
Donaueschingener Musiktage. The reason that I am presenting this piece
today is that, when starting work on it, I adopted a new approach to
processing the interaction between large-scale formal/variational structure and its temporal contiguity. The anamorphic, perforated
"motivicity" of the rhythmic patterning in the live bass flute part was
locked into the linear expansion of primary and secondary pitch domains
with a view to rendering immediate various degrees of temporal
"tactility"-that is to say, situations in which alterations in the flow of
time through and around objects or states becomes sensually (consciously) palpable. I employ the term "tactile" even though I am well
aware of the problems attached to the uncritical transference of vocabulary from one area of discourse to another. Still, we have sufficiently frequent recourse to physical, bodily analogies when referring to musical
events for such an extension to have some inherent intuitive plausibility.
If it would not be entirely inappropriate to classify musical events of, for
instance, high amplitude according to criteria such as "weight" then it
would also seem legitimate to seek communally acceptable terms for the
fluctuating balance between the identity of discrete event-objects and
their temporal frames of reference. What, in Webern and after, could be
said of silence as a "contextually defined empty class" can surely be
extended to the larger empty class of time itself.
Even though, when talking about "tactility" in musico-temporal
terms, one is speaking with connotational rather than denotational
intent, I still feel that the term serves to identify an experience most of us
have occasionally had. When we listen intensively to a piece of music
there are moments when our consciousness detaches itself from the
immediate flow of events and comes to stand apart, measuring, scanning, aware of itself operating in a "speculative time-space" of dimensions different from those appropriate to the musical discourse in and of
itself. We become aware of the passing of time as
something closely
approaching a physical, objectivized presence. There have been occasions
when I have had the experience of time "sliding" across the inner surface
of the brain with a certain impetus: it seems to be the
weight and
sequential ordering of resistances offered by whatever evaluational model
the mind is currently attuned to, combined
perhaps with some form of
inertial energy generated by this encounter (and by the separate awareness that this is happening) which creates an
irregular segmentation of
experiental continuity and, hence, of the awareness of time as a distinct
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"transparency"and "resistance"of musical materials with respect to temporal perspective be foregrounded as expressive energy?
The problem was addressed on three fronts simultaneously: (1) the
manifestation of background metric spatio/temporal coordinates on the
eight-track tape (where only the downbeat of each and every measure of
the piece is attacked); (2) the "interferencepatterns" created by the partial erasure of the subsurface rhythmic models (their degree of explicit
representation); and (3) the prevailing level of explicit interruptive
activity in the solo part, whereby each of the three lines of independently
calculated rhythmic patterns is able to cut off already present actions on
one or both other levels. (In a monophonic instrument, it is clear that the
entry of material on a second level necessarily causes that on the first
level to be broken off, regardless of its written duration.) These three
aspects thus have the interruptive strategy in common, since even the
metric structures of the tape material are based on continual crosscutting
between measures employing eighth-note beats and those characterized
by particular fractions (usually quintuplet or triplet values) of those
beats, whereby the "feel" of the relationship between surface gesture and
(for the audience inaudible) click track is constantly changing. In addition, what is true between measure and measure is also valid for the
tempi relationships between adjacent sections. It is important that the
performer come to creative terms with this pyramid structure of conventions: a note begun as if it were going to continue for its full written
length, for instance, is going to have a considerably different effect when
interrupted than a note written as having an identical real duration (even
supposing that, in context, to be possible). Performative shaping energy
will be distributed according to quite other criteria, other mental
trajectories.
It's clear that, if we have several musical objects following on from one
another, we will perceive the flow of time differently according to
whether (e.g.) these objects are obviously crossrelated, whether they are
connected by gradualistic transformations in one or more parameters,
whether there exist codifiable consistencies in intervening "buffer materials," and so on. If, for instance, we move through a piece entirely on
the basis of quasi-instantaneous modulations ("film cuts") then the
irregular weighting of the temporal dimension is magnified by the parallel disposition of material identity and exclusivity of temporal container.
Concomitantly, the tempo flow within any one of those same units
becomes somewhat less constitutive. If, on the other hand, we postulate
a music whose structural extremes, whilst equally powerful, are less
obvious, relegated to a set of subsurface ordering mechanisms (like
predicting the length of a measure in the density of impulses in the
immediately preceding measure), then our ears naturally adopt other assumptions of priority, of grouping in time, even where general density
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