Resonance

Resonance
for any instrument
for Gayle Young

Each score has quite specific instructions, and if they are truly explored, the performance of the score is fairly clear. I suggest approaching these scores as any other score, in that they should be studied thoroughly, as well as studying the composer and their philosophy.

Resonance is a text score. The words and phrasing I use are intentional, and I use these terms with the multitude of meanings that they can imply. This score uses Zen paradoxes. The seeming dichotomies of be / be not, breathe / breathe not, sound / sound not may lead anyone encountering this score to suspend their assumptions of life and observe their existence from another perspective, or not. Then repeat these actions/non actions until finished. For some this may lead to questioning their whole life, for others it may be a validation of their life experience.

The Notes to the Score:

1. Each gesture should be delicately placed, either purposely or at random.

  • The term “each” suggests: every single one; all; defining one from the other; creating a boundary between the gestures yet treated as related; informing the other yet distinct unto itself; etc.
  • A “gesture” is any movement in sound, silence, space, time, existence…
  • The term “should” suggests: conformity; doing what we are expected to do; doing what we think we are expected to do; societal, cultural, moral pressures. Though it is also suggests a choice, which if not taken can give rise to the guilt of not doing what we think we are expected to do, disobedience, resistance, or nonconformity …
  • The term “placed” suggests: with purpose, with intent, with forethought, so that we had reasons and reasoning for its placement. Therefore judgment, values, ideals, habits, enculturation come into play.
  • The use of “delicately” suggests: with care, softly, with precision, not to disturb, not to alter, not to change, not to transform, with respect, a kind of honouring, like treating a baby or a kitten, like it is precious, like it is fragile, ….
  • Either / or: is a choice of a subset; one or the other; not both yet related; ying / yang; a duality; opposites that are bound together; two sides of a coin; essential to each other in their opposition; defining the boundaries of the other, ….
  • The terms “purposely” and “random” are treated as those above.

2. A deep awareness of the performer’s surroundings and the soundscape is suggested.

  • A deep awareness of the soundscape suggests to have sat listening to every sound, those internal to a body, those external to a body, those imagined, those suggested, those internal voices that sit behind every thought, those thoughts themselves. All these sounds are be heard and treated equally without judgement of being good, bad, wanted, unwanted, noisy, or pleasant. All these sounds are listened to simultaneously with a broad equal attention.
  • A deep awareness of the surroundings suggests that the detail achieved in listening can be achieved with every other sense.

3. This score includes both the shadows of sound and the shadows of silence.

  • Whether or not sound or silence is used in this score, their shadows are essential. Sound shadows can be what are cast behind an object that is in the path of sound waves. Sound shadows can be remnants of sound left long after the sound source has ceased producing sound, they can last for millennia. Sound shadows can be what are left in our experience long after the sound has left.

4. The resonance of being, breathing and sounding should be regarded, disregarded, neither or both.

  • This alludes to a Zen state of deep awareness without discernment or judgement. An expanded awareness of being and what surrounds us leads to experiencing a quantum / satori state where boundaries /space / time can start to dissolve. Space becomes indefinable and opposites combine. Our sense of dimension dissolves into a grand all encompassing nothingness while simultaneously fracturing into a vast myriad of other dimensions all intersecting.

Once all these “notes” are explored, playing or not playing the piece is effortless.

Randy Raine-Reusch
05/19/2013

r3Resonance

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