Einspielung : Instrumentale Lektüre ; Musik für Ensembles
Abstract/Contents
- Abstract
- abstract. EINSPIELUNG. INSTRUMENTALE LEKTÜRE. MUSIK FÜR ENSEMBLES L'intervalle est un accessoire originaire et un accident essentiel [du chant]. Jacques Derrida, De la grammatologie. I call my piece an Einspielung ('recording in the public domain'). It is concerned with intellectual play: the establishment of a language of tones, born of the childlike anticipation of a sensuous-to-sonorous transformation together with a futile temptation to adequately comprehend this latter. To be sure, any such conceptualization of play which this word implies must be understood as a discrepancy, as, for example, in the way that a recorded interpretation of a piece is never capable of capturing sonic events situated outside the time frame of the recording. Nevertheless, it is still a question of organising the documentation of an imaginary Instrumentalspiel (instrumental performance) which arises from my piano playing (Spielen) during the compositional process into a reading reflection (which can be revisited). My music does not aim to conform to the customary seating plans of concert podia. It is neither for orchestra nor for ensemble groups, even if it moves between the poles of these instrumental formats. Rather, it treads the paths of instrumental encounter and probes instrumental connections, conjunctions of substance and accident, in order to invite solos intensified through self-referential heightening, duplicated duos, indiscreet chamber music, and impossible unisons to extreme (de)dimensioning in a domain whose scope is itself constantly modified by the discourse it contains. In this work the instrumentation does not define the genre, while the reading of a book initially unknown (by avoiding to disclose it, let us say: perhaps Derrida's De la grammatologie, whose second part, along with the subject matter of Rousseau's Essai sur l'origine des langues, according to Friedrich Kittler, could be read as a philosophy of partial tones) directs the act of composition, without being the programme of the resultant music. This composing strives towards bringing a text to the surface that, at the point of its emergence, re-enlivens abandoned pleasure of anticipation in order that concentrated energy might resonate as 'linguistic timbre'. Accordingly, this music also possesses no global formal organisation, only attempts at enclosure in various states. May 2010, Sebastian Semper.
Description
| Uniform title | Semper, Sebastian, 1978-. Einspielung |
|---|---|
| Type of resource | notated music |
| Form | electronic; electronic resource; remote |
| Extent | 1 online resource. |
| Publication date | 2010 |
| Issuance | monographic |
| Language | English |
Creators/Contributors
| Associated with | Semper, Sebastian, 1978- |
|---|---|
| Associated with | Stanford University, Department of Music |
| Primary advisor | Ferneyhough, Brian, 1943- |
| Primary advisor | Ulman, Erik, 1969- |
| Thesis advisor | Ferneyhough, Brian, 1943- |
| Thesis advisor | Ulman, Erik, 1969- |
| Thesis advisor | Applebaum, Mark |
| Advisor | Applebaum, Mark |
Subjects
| Subject | Orchestral music |
|---|
Bibliographic information
| Statement of responsibility | Sebastian Tobias Joerg Semper. |
|---|---|
| Note | Submitted to the Department of Music. |
| Thesis | DMA Stanford University 2010 |
| Location | electronic resource |
Access conditions
- Copyright
- © 2010 by Sebastian Tobias Joerg Semper
- License
- This work is licensed under a Creative Commons Attribution Non Commercial 3.0 Unported license (CC BY-NC).
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