Conceiving Musical Transdialection

Beaudoin, Richard; Moore, Joseph G.

doi:10.1111/j.1540-6245.2010.01396.x

Cited by 6 publications

(1 citation statement)

References 3 publications

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“…Photographic Overexposure [2.1] The central role of transcription in Finnissy's music is perhaps the most oft-discussed aspect of his work (Toop 1988, Pace 1997, Beirens 2003, Beaudoin and Moore 2010, Pace 2013, Whittall 2014, Redhead 2019). As the composer himself explained: "Because I don't have a particular fetish any more for generating original material, I often, even in pieces I don't acknowledge as transcriptions, take the material from somewhere else" (1997,3).…”

Section: "Have I Been a Photographer All These Years?": Musical Transcription Andmentioning

confidence: 99%

The Pen as Camera

Beaudoin

2021

MTO

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The photographic effect of overexposure is analogous to Michael Finnissy’s technique of selective musical borrowing. Just as a photographer uses the camera to allow an overabundance of light to wash out pictorial details, Finnissy uses his transcriptive pen to allow an overabundance of silence to alter and fragment his borrowed sources. Case studies demonstrate Finnissy’s borrowing of cadential phrases by J. S. Bach, Beethoven, and Bruckner in his solo piano works Wenn wir in höchsten Nöthen sind (1992) and The History of Photography in Sound (1995–2001). Comparing original sources, unpublished sketches, and published autographs reveals the composer’s precise transcriptive mechanisms. Measuring the alteration of tonal function enacted by specific harmonic and rhythmic distortions illuminates Finnissy’s pre-compositional practice while celebrating the sonic experience of his music on its own terms.

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Section: "Have I Been a Photographer All These Years?": Musical Transcription Andmentioning

confidence: 99%

The Pen as Camera

Beaudoin

2021

MTO

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Luciano Berio’s Nineteenth Century

Peattie¹

2019

Contemporary Music Review

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You're There and You're Not There: Musical Borrowing and Cavell's “Way”

Beaudoin¹

2010

Journal of Music Theory

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Examples of borrowing strategies in both musical and philosophical texts are outlined. Cavell's position on quotation as `being the other to one's self' is explored. Three cases of musical versus philosophical modes of borrowing are surveyed: Cavell borrowing Thoreau versus Ignaz Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice are applied to the understanding of musical borrowing.

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Conceiving Musical Transdialection

Cited by 6 publications

References 3 publications

The Pen as Camera

The Pen as Camera

Luciano Berio’s Nineteenth Century

You're There and You're Not There: Musical Borrowing and Cavell's “Way”

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