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TIME, HISTORY, COMPOSING

Published online by Cambridge University Press:  06 September 2018

Christopher Fox
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Abstract

This article is based on a lecture given on 28 April 2018 as the keynote address at the inaugural conference of CenM@S, the Centre for New Music at Sheffield University. It offers a series of reflections on time and musical composition, time being considered both in the sense of history – our present sense of the past – and experiential time as we listen to music. Specific reference is made to the author's Canti del carcere (2012–18) and the texts by Gramsci and Dante that are set in these madrigals, each of which is also concerned with the passage of time and the ways in which ideas become consolidated. Ideas of time and history in the music of Cage, Nono and Feldman are also considered.

Type
RESEARCH ARTICLES
Information
Tempo , Volume 72 , Issue 286 , October 2018 , pp. 64 - 72
Copyright
Copyright © Cambridge University Press 2018 

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References

1 Dante Alighieri, Inferno, Canto X, lines 100–110.

2 Antonio Gramsci, Quaderni del Carcere, Quaderno 4, §78; English translation by Buttigeig, Joseph A., Antonio Gramsci: Prison Notebooks, Vol. 2 (New York: Columbia University Press, 1996), p. 247Google Scholar.

3 Antonio Gramsci, Quaderni del Carcere, Quaderno 1, §65.

4 Dante Alighieri, ‘Così nel mio parlar voglio esser aspro’, one of his 4 Rime petrose.

5 Antonio Gramsci, Quaderni del Carcere, Quaderno 6, §85.

6 Crippled Symmetry was performed by Richard Craig, Philip Thomas and Damien Harron as the opening event of the Sheffield conference.

7 First published in Lachenmann's, Helmut translation as ‘Geschichte und Gegenwart in der Musik von heute’, Darmstädter Beiträge zur neuen Musik 3 (1960), 41–7Google Scholar. The reference to ‘geistige Selbstmord’ is on p. 47.

8 Rudge in Alan Bennett's play The History Boys, Act 2.