Abstracts
Abstract
This article explores the ways in which the music of experimental composer Christian Wolff engenders surprise through processes of disruption and provocation. The contexts under examination are: scores which employ cueing strategies; improvisatory pieces; ensemble pieces; pieces for solo piano; and Wolff’s practice as an improvising musician. These case studies show how Wolff’s music occupies a particular position between improvisation and composition. In examining the space that Wolff’s music opens up for contingency and play, and in adopting a view of indeterminacy as understood through performance rather than limited by its notation, the article puts forward a view of indeterminacy grounded in sociality. More broadly, in its contribution to the body of literature investigating the role of notation in improvisation practices, the article invites a reconsideration of the ontological understandings of composition, improvisation, and performance.
Keywords:
- Christian Wolff,
- improvisation,
- indeterminacy,
- performance,
- surprise
Résumé
Cet article explore la façon dont la musique du compositeur expérimental Christian Wolff parvient à provoquer la surprise en s’appuyant sur différentes stratégies de perturbation. Cinq contextes sont examinés : les partitions qui reposent sur l’échange de signaux entre les interprètes ; les pièces à base d’improvisation ; les pièces d’ensemble ; les pièces pour piano solo ; et, enfin, la pratique d’improvisation de Wolff lui-même. Ces études de cas montrent comment la musique de Wolff occupe une position particulière entre l’improvisation et la composition. En examinant l’espace que la musique de Wolff ouvre à la contingence et au jeu, l’article adopte une vision de l’indétermination comprise comme ressource pour l’interprétation (et non comme simple limite de la notation), qui repose en définitive sur les interactions sociales entre les musiciens. Plus largement, en s’inscrivant dans le champ des travaux qui analysent le rôle de la notation dans les pratiques d’improvisation, l’article invite à reconsidérer les ontologies implicites de la composition, de l’improvisation et de l’interprétation.
Mots-clés :
- Christian Wolff,
- improvisation,
- indétermination,
- interprétation,
- surprise
Appendices
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