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A semiotic approach to open notations : = ambiguity as opportunity /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	A semiotic approach to open notations :/ Tristan McKay.
Reminder of title:	ambiguity as opportunity /
Author:	McKay, Tristan,
Description:	1 online resource (75 pages) :digital, PDF file(s). :
Notes:	Title from publisher's bibliographic system (viewed on 05 May 2021).
Subject:	Musical notation. -
Online resource:	https://doi.org/10.1017/9781108884389
ISBN:	9781108884389 (ebook)

A semiotic approach to open notations : = ambiguity as opportunity /
McKay, Tristan,

A semiotic approach to open notations :ambiguity as opportunity /Tristan McKay. - 1 online resource (75 pages) :digital, PDF file(s). - Cambridge elements. Elements in music since 1945,2632-7791. - Cambridge elements.Elements in music since 1945,.

Title from publisher's bibliographic system (viewed on 05 May 2021).

Along with twentieth-century developments in playing techniques, technologies, and concepts of musical sound, the notations employed by composers have also changed. Composers of what Umberto Eco calls 'open works' often employ intentionally ambiguous music notations. These open notations ask the performer to play a radical and active role in co-creating the musical work. Scores that feature open notations have been part of the Western classical music landscape since the mid-twentieth century, and continue to have a vibrant community of practitioners today. In this Element, Tristan McKay considers intersections of ambiguity, authority, and identity in works with open notations. He develops a semiotic approach to open notation analysis and puts it into practice with in-depth analyses of openly notated works by Earle Brown, Will Redman, and Leah Asher.

ISBN: 9781108884389 (ebook)Subjects--Personal Names:

1426793
Brown, Earle,
1926-2002--Criticism and interpretation.Subjects--Topical Terms:

1426797
Musical notation.

LC Class. No.: ML431 / .M44 2021

Dewey Class. No.: 780.148

A semiotic approach to open notations : = ambiguity as opportunity /
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520 $a Along with twentieth-century developments in playing techniques, technologies, and concepts of musical sound, the notations employed by composers have also changed. Composers of what Umberto Eco calls 'open works' often employ intentionally ambiguous music notations. These open notations ask the performer to play a radical and active role in co-creating the musical work. Scores that feature open notations have been part of the Western classical music landscape since the mid-twentieth century, and continue to have a vibrant community of practitioners today. In this Element, Tristan McKay considers intersections of ambiguity, authority, and identity in works with open notations. He develops a semiotic approach to open notation analysis and puts it into practice with in-depth analyses of openly notated works by Earle Brown, Will Redman, and Leah Asher.
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