ABSTRACT

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Notation and performance practice of Andre Greenwald’s cycle A Thing Made Whole

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by

Jacques Zafra

University of California San Diego, 2021

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This paper explores the realm of contemporary music by examining Andrew Greenwald's cycle, "A Thing Made Whole”, with a particular focus on performance practices and notational aspects. It reflects on the experiences and challenges faced by performers when confronted with works that diverge significantly from traditional musical notation and techniques. During the summer of 2021, at a course organized by Contemporary Insights in Melle, Germany, musicians grappled with Greenwald's unique notational style, which demands a high degree of interpretative effort and redefines the performer-composer relationship.

 

This exploration extends to comparing similar challenges in the works of John Cage and Mark Applebaum, particularly focusing on their departure from conventional notation and the consequent demand for 'decoding' the score. The paper discusses the varying degrees of ambiguity, the requirement of non-traditional instrumental techniques, and the need for a deeper level of engagement with the score. It emphasizes the collective process of interpreting and performing these compositions, where decisions about dynamics, tempo, and other musical elements are often collaborative and intuitive, rather than prescriptively defined by the composer. This approach challenges and enriches performers, encouraging a blend of technical mastery and creative interpretation.

 

In summary, this paper underscores the significant influence of immersing oneself in modern compositions such as those by Greenwald. These pieces, which require intricate understanding and skillful performance, are instrumental in pushing the boundaries of contemporary music and enhancing the overall landscape of the musical realm.

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