Music Notation and Distributed Creativity: The Textility of Score Annotation

Emily Payne, Floris Schuiling

Research output: Chapter in Book/Report/Conference proceedingChapterAcademicpeer-review

Abstract

This chapter explores the positive function of music notation within the creative process in order to move beyond a paradigm that opposes notated permanence to performed and/or improvised transience. We compare two different case studies in the areas of contemporary composed music and improvised music. Concentrating on the practice of annotation, we propose an ontological shift from the work to the score. Annotation is an intimate practice, a way of negotiating one’s agency and ownership of the music, distributing creativity over a network of human and non-human actants. We draw on the work of Tim Ingold to examine the active role of the score as a fluid quasi-object collaborating in music’s creative process, and thus to reconsider notation in its textility rather than its textuality.
Original languageEnglish
Title of host publicationPerformance and Posthumanism
Subtitle of host publicationStaging Prototypes of Composite Bodies
EditorsChristel Stalpaert, Kristof van Baarle, Laura Karreman
PublisherPalgrave Macmillan
Pages261-286
Number of pages25
ISBN (Electronic)9783030747459
ISBN (Print)9783030747442
DOIs
Publication statusPublished - 2021

Fingerprint

Dive into the research topics of 'Music Notation and Distributed Creativity: The Textility of Score Annotation'. Together they form a unique fingerprint.

Cite this