Abstract
In this paper, I consider the creation and performance of Leah Asher’s TRAPPIST-1 (2017), a solo piano work in graphic notation that I commissioned and premiered. Musical works that utilize open notations often have a complex relationship to the work-concept and, in turn, an elusive ontology. I consider the role of conceptual palettes as significant sites in the creative process where ontological boundaries are delineated. I analyze four sites in the creation of TRAPPIST-1—from project proposal to premiere performance—where conceptual palettes play a dynamic role in narrowing, restricting, and guiding the identity of the work. Using Jakobson’s notion of the poetic function and Harkness’s concept of qualic transitivity, I show that conceptual palettes facilitate performance as highly curated acts of translation not just of open notations but also of intangible concepts.
Published Version
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