Feldman put it this way: "Actually I just try to repeat the same chord. I'm reiterating the same chord in inversions. Yet after a few reiterations, we realise there is no resolution of discords, no cadence, and ultimately no directionality. During these repetitions time stretches to a different level, and we realise that the music has no past or future, but only a present, which consists of the particular permutation being played at a particular point in time.
As Feldman explained, the permutations are " It is obvious that the interval of a minor second, which we have encountered in the melodic pattern of the 'cello, is present here too, together with the major second. Such interval is observed in another quartet pattern of two chords Ex. These two chords are found at bb. One-chord patterns are also found in the quartet parts. Of these, the most prominent is the one found at bb. This one-chord pattern is interesting because it involves pitches all a minor second apart.
Let us now turn back to the chords of Ex. These two chords are found also in the piano part, permutated, at bb. The only difference with the quartet chords is that instead of being within one bar, the piano ones are spread across two bars, so that there is one chord in each bar. Such two piano chords, then, form a pattern, as they are repeated several times.
Other two-chord patterns can be found in the piano part, as listed in Ex. Afterwards the chord loses its identity as a pattern and is repeated intermittently, for example at b. The chord is last seen at bb.
By comparison, the most recurring chords of the quartet parts as given in Ex. NB - The piano part 'fills in' between repetitions with its resonances, thanks to the sustaining pedal, so the percentages do not really tell the whole story here. The reason my music is notated is I wanted to keep control of the silence It's floating.
On paper it looks as though it's rhythm. It's not. It's duration. Such complexity derives from Feldman's attitude, in his late works, to keep notated music free and 'floating', rhythmically speaking, as if it were a written transcription of an improvisation.
Cage remarked once that Feldman's late works were Feldman playing his early graph pieces. The 'free-floating' feel of PSQ is achieved, as Feldman said, through a complex and painstaking notation of the intended sound-images. This involves, among other factors, continuous small adjustments of the time-frame, and that is to say, of the time-signatures. It is precisely by looking at the time-signatures themselves that we find how they alternate and repeat to form several patterns, which are listed here: 1.
There are also a number of instances where a time-signature will not change, and for a relatively long time, as in the following examples: bb. Bear in mind that these bar numbers do not take into account repeat bars.
For instance the last example, if it included all repeated bars, would actually give ninety-four bars. The string of examples shown above is of further interest when we consider that the longest repetitions of the same time-signature occur in coincidence with the quartet parts' bars-long two-chord pattern - which, as we saw earlier on, starts at b.
Another duration pattern found in the score is of a visual nature, concerning the notational sphere of PSQ rather than its acoustic one.
If we look at the first page of the score, for instance, we see how a 'notated' bar alternates with an 'empty' one regularly: this creates a visual pattern of full and empty bars, which in a way is detached from the acoustic reality of the music - if anything because in performance the 'empty' bars would contain sound from the piano's resonances.
Feldman gives confirmation when he says that "Though these patterns exist in rhythmic shapes articulated by instrumental sounds, they are also in part notational images that do not make a direct impact on the ear as we listen. It will suffice to take a look at the piano piece Palais de Mari to notice how there too there is a visual use of 'black' and 'white' bars in alternation. It is impossible not to mention Turkish rugs when writing about Feldman's late music, and especially with regard to the visual aspect of his scores.
At Ex. Interesting also, is the similarity between the look of the piano part and of the quartet part up until b. Such disagreement becomes dramatic - at least visually - between b.
Let it be clear though, that approaching late Feldman is always a risky enterprise, for in spite of the recurring chords and motifs the music before us will not yield to conventional analysis. The question 'Why patterns? We assume it is for no reason at all, for we must acknowledge Feldman's lack of interest in pitches per se, as he told one of his pupils: "Timbre and range are the same problem, and both are more important than pitches.
When one knows exactly the sound he wants, there are only a few notes in any instrument that will suffice. Choosing actual pitches then becomes almost like editing, filling in detail, finishing things off.
Until then, Feldman holds the key to the modus componendi of this piece. Notes 1. Morton Feldman, Essays, ed. Zimmermann Cologne, , p Excerpt of lecture transcript reproduced here by kind permission of the author, Linda Catlin Smith. Javadi , M. Fujieda Published Rug design and music are considered as arts which use symbolic language to express certain concepts with a focus on the idea of unity in multiplicity.
However, the relationship between them has not been studied in detail. We observed key elements of rug patterns and tried to create an analogy in music… Expand. Save to Library Save. Create Alert Alert. Share This Paper. Figures from this paper. Abstract This paper is about the relationship of music and art which are components of the basic design applications over arts.
For architectural education, to deal with art as a tool and the … Expand. View 1 excerpt, references background. Exploring Persian rug design using a computational evolutionary approach.
In Azerbaijani culture, mugham classical music and carpet relate structurally, semiotically, and socially. This article compares a specific mugham Rast and a specific carpet Shakhnazarli.
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