Michael Edgerton
Professor
Imitating the Vivacity of the Human Voice (e99), for solo erhu (2017)
Other contributions
- Michael Edgerton
Summary, in English
PREMIERE: Premiered by Hu Liu during the 2017 China-ASEAN Music Week at the Guangxi University of the Arts on May 28th.
NOTE:
Imitating the Vivacity of the Human Voice, is a meditation on diversity and the roiling of coexistence. In this piece disparate components from east and west do not suggest a transcendent unification. Rather, rhetorical devices such as “Tiaogong” [跳弓] or “Schleifer” become something else – no longer artefacts presuming cultural retention, but rather discourse to a risky modernism
Technically, Imitating… presents incomplete (and embedded) tuplets on multiple strata that are to be interpreted flexibly in relation to a temporal grid laid out above the notation.
Imitating … continues work with ornamentation as presented by Silvestro Ganassi, in his treatise dal Fontego Opera intitulata Fontegara (Venice, 1535). These ornaments are not to be treated in a historical manner, but rather the performer is asked to simulate non-diatonic contours and gestures, often in competition with an already abundant notation. Such prolongation offered through archetypal symbols provides a fleeting logos that is demonstrably risky.
NOTE:
Imitating the Vivacity of the Human Voice, is a meditation on diversity and the roiling of coexistence. In this piece disparate components from east and west do not suggest a transcendent unification. Rather, rhetorical devices such as “Tiaogong” [跳弓] or “Schleifer” become something else – no longer artefacts presuming cultural retention, but rather discourse to a risky modernism
Technically, Imitating… presents incomplete (and embedded) tuplets on multiple strata that are to be interpreted flexibly in relation to a temporal grid laid out above the notation.
Imitating … continues work with ornamentation as presented by Silvestro Ganassi, in his treatise dal Fontego Opera intitulata Fontegara (Venice, 1535). These ornaments are not to be treated in a historical manner, but rather the performer is asked to simulate non-diatonic contours and gestures, often in competition with an already abundant notation. Such prolongation offered through archetypal symbols provides a fleeting logos that is demonstrably risky.
Avdelning/ar
- Lärare (Musikhögskolan)
Publiceringsår
2017
Språk
Engelska
Länkar
Dokumenttyp
Konstnärligt arbete
Förlag
BABELSCORES®
Ämne
- Music
Status
Published
Projekt
- composition, 1985 to current