CORNELIUS CARDEW TREATISE HANDBOOK PDF

Cardew_Cornelius_Treatise_pdf (file size: MB, MIME type: application/pdf). Expand view. File history. Click on a date/time to view. Treatise & Treatise Handbook, By Cornelius Cardew – Download as PDF File . pdf), Text File .txt) or read online. Treatise & Treatise Handbook, By Cornelius. This new book contains the collected writings of Cornelius Cardew including The Treatise Handbook, The Tigers Mind score, Towards an Ethic.

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Corollary to Lesson 1: This became especially clear in my first practical experiments with the collage. 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.

Sooner or later, any consistency in the interpretation of a given element is therefore undermined. It resumes in p. If one embraces this reality, bears witness to it, one is improvising regardless of the degree of detail with which one translates the notation into sound. Is improvisation always a factor in realizing Treatise with integrity? Because there were several recordings of these pages, three of which FORMANEX, WhoThroughThen, Cardew BBC were individually dense, I chose to leave time for different recordings to emerge without overcrowding one another, using the graphical elements to suggest rough changes of overall density and volume.

Treatise is in fact an obstacle between the musicians and the audience […] Treatise was a large-scale opus on which I wasted more hours of craftsmanship and intellectual effort than I care to recall.

A noble intention, this communion, but how has it worked in practice, if at all? Ironically, this off-the-cuff response to conditions accumulated over the course of many months of research and tape collage assembly, a week of rehearsal with the ensemble, and two long days in the studio brought forth a light-hearted but cornleius insight:.

Shapes are not differentiated except in crude melodic figuration. Treatize few examples should suffice to show this problem: The difference between treatisse the sound and being the sound. For my analysis of various recordings of Treatise, see this post on my blog: There were conventional trends e. How did I weave among them in A Hahdbook Remix? While those questions began as a rhetorical springboard, I would like to revisit them here, slightly reformulated, as points for earnest reflection.

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As one can see in Treatise Handbookthe number of pages selected for any given performance, the durations of individual pages, and the duration of events assigned to particular symbols within each page are staggeringly diverse. Performance “Reflection before a performance. Well, it’s a noto chord However when an interpretive approach is more flexible or abstract, comparison can easily become a guessing game, particularly if no page numbers or artist comments are available.

A palpably interactive discourse results from performers adapting their materials within the ccornelius polyphony. This historical recording offers a unique perspective to hear Treatise as interpreted by Cardew’s contemporaries.

Not the exactitude and success with which a notation notates a handbiok but the musicalness of the notation in its notating. If the lifeline is absent, then no tape sounds. To move forward is to concoct new patterns of thought, which in turn dictate the design of the models and experiments.

Treatise Handbook

In addition to its regular concert appearance and many recordings, it is often taught in university courses and workshops throughout Europe ttreatise the US. And as we have seen, there is no cohesive performance practice to supplement that radical contingency.

CardewAs I briefly outlined in my description of Handvook I, the lifeline-circle narrative provided a cohesive way of selecting which pages of the score to realize. In any case, it becomes hard to make formal judgements, as these will mostly be based on aesthetic preferences.

In this sense the ordering, density, and durations of source material in the continuous tape collage on p. Facsimile of the original typescript cornwlius, comb-bound This is now out of print, to be supplanted by a new book. Read my report on a Treatise Workshop led by John Tilbury. Another simple but significant case of this feedback was the inclusion of particular pages in Section II. The Philosophy of Improvisation. Granted, that process took place over a longer period of time than a single performance, and my collaborators were not physically present at least at this stage.

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Treatise published in Sound American 12 Wooley a, b bear this out abundantly. Since my aims were analytic and creative rather than archival, the discographical research was far from systematic. Musical references in the notation are emphasized to a grotesque degree, but many nonmusical idiosyncrasies are apparently ignored e.

A Young Persons Guide to Treatise

A Young Persons Guide to Treatise The nature of these sections emerged quite late in the process of assembling A Treatise Remix ; rather than forming part of hsndbook centralized plan, the sections themselves were also a consequence of negotiating material, form, and performer choice — a long-term improvisation also implicit in the page selection.

But the presence of some symbols remains audible, emerging and receding over time in function of the ongoing improvised musical development. If teatise bring the content, rather than finding it along the way the way being not only real-time performance, but all the preparatory and reflective labor with which it is continuousthe hunt ends before we reach ourselves.

Orchestral Works mode Petr Kotik Profile. See excerpts from Treatise Handbook inserted throughout this text. Translator and vocalist Kesten also recites such descriptions.

A few examples should suffice to show this problem:.

Between Thought and Sound: I then engage in a dialogue with the other players, using the inspiration of sounds and symbols to add my own voice.

A score with backbone. It contains no sounds, no cornleius to putative performers […] treatuse of lines and shapes, clustered around a strong, almost continuous central line, which can be imagined as the lifeline of the reader, his center, around which all manner of activity takes place […] Cardew ,