POSET-TING THE PHRONETIC: COMING TO ROWING TERMS IN ROBERT MORRIS’S DOUBLES AND PAIRS DAVID HENNING PLYLAR I calmly write: “In the beginning was the deed!”1 And the deed stipulated the terms and conditions of occupancy.2 I N HIS ESSAY/TALK “COMPOSING EACH TIME,” Robert Morris refers simultaneously to his composition Each Time and the renewed act of composing each time he does so. I had the pleasure of hearing the talk and later reading it in his collection of essays, The Whistling Blackbird. There are many insights to be gained from the study of the rich body of Morris’s work (in which I include his musical compositions, his writings I Poset-ting the Phronetic 227 and his considered remarks in conversation. Off-the-cuff statements or jokes are ornaments that reflect his improvisatory interests). “Composing Each Time” eloquently addresses some issues concerning the compositional process, and Morris’s addition of a short preface to the printed edition of the talk led to an unordered chain of ideas that resulted in my writing this brief text. Morris invokes the weight and wisdom of one of history’s great thinkers in this preface, a member of only the third generation to benefit from and appreciate the fruits of a dominant Platonic relationship: Aristotle. Drawing on this part of the Hellenic tradition struck me as a move calculated to show that, among other things, modern problems of art creation and reception are not historically unique. At various points in the compositional process, Morris adjusts his Aris-throttle to make artistically viable decisions as the aesthetic situation demands. II Labels of styles or movements, while expedient, have the unfortunate side effect of packaging a world-view in a conveniently disposable thought-crumple. Some members of the musical community at large may seize on such a label and, politike in praxis, throw out the bathtub with the baby.3 Morris, however, is not an apologist and does not need to be. Any attentive listener can hear that there is substantial depth and diversity in the music of Robert Morris. I do not hear his music in the same way that you or he does, and thankfully so. One of Morris’s great pedagogical strengths (in and out of the classroom) is his encouragement of a pluralistic approach to reception and analysis. Sometimes Morris’s commentary is Greek to me; but his application of some tenets of pre-modern philosophy to his own compositional process is actually a rallying cry to those who see the value in the merger of thought and the poetic—or rather, to those who suspect there never was such a division in the first place. While the wanderings of my own prose may be comparably parapathetic, may you temporarily chart your course with stoic resolve through a garden rife with mixed metaphor,4 as we come to rowing terms in doubles and pairs. We can do this working together (as it happens, not in harmony: Example 1A) . . . . . . Or while not quite in sync (Examples 1B and 1C). 228 Perspectives of New Music T9I: 93614TE75208 m. 64: T9I rotated and manipulated: E 893614T572(7272)0 T9I: 93614T E75208 EXAMPLE 1A: ROBERT MORRIS, DOUBLES AND PAIRS, M. 64 RT9I: 80257ET41639 mm. 39–40: RT9I rotated and manipulated: 57ET4163 8 (0392) EXAMPLE 1B: ROBERT MORRIS, DOUBLES AND PAIRS, MM. 39–40 Poset-ting the Phronetic 229 III Many of life’s experiences tend to be cyclical in nature, though certain trajectories trace a more linear path,5 such as an individual’s life cycle (the cycle here applies to the disembodied perception of one observing a population, or various religious doctrines the cycles of which generally still have an ultimate terminus). Heraclitean rivers may not be the same for every footstep they receive, but there may be intersubjective agreement that the river exists, possesses certain characteristics, and at least for the time being follows a particular path. It is important to note that this non-comprehensive suggestion refers to perception and not assertions of actuality. Heraclitus’s river here represents the flow of historical time, as perceived by the multiplicity of streams of consciousnesses . We may not agree on...
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