Music Between Sounds: Relational Aesthetics The Poetics Of Wandelweiser (original) (raw)

Abstract

Introduction, Background, or, How We Arrived Here To work with an ontology of music is to be engaged in a perpetually renewing object and perspectives. Traditionally, music has been regarded as the organization of sound, and implied in this is an organizing subject. We might identify this subject as a performer or composer or producer or any number of cultural roles, but what remains across all of these distinctions is the act of fixing relations between objects so as to create a specific experiential circumstance. Its objects can consist of pitches, melodies, rhythms, and harmonies, but more broadly any events, processes, and concepts recognized ontologically as a single entity. Fixing relations also includes setting them in a state of possibility as opposed to actuality: rather than a musical event happening or not happening, it may happen depending on the immediate circumstances of performance. Referred to as indeterminate, chance, or aleatoric music, this practice opened up inscription and performance into a continuum 1 of potential music, one of the many paradigm shifts that altered art and aesthetics in the twentieth century. Composer Michael Pisaro describes these shifts as "truth procedures," in which a founding event makes recognizable a site of conceptual rupture from which subjects pursue the rupture's widest consequences and implications. 2 Among the truth procedures he recognizes is one he calls the "experimental" in which the musical is no longer necessarily contingent upon a knowable outcome. If any singular piece of music did the most to break down music into this 1 With reference to Adam Harper's conception of musical variables. This idea will return as a system of mapping qualitative points of musical practice.

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