The Composer-Performer Relationship
in Contemporary Music
By Keith Lee
Copyright 2011 Keith Lee
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New Musical Genres and Practices
The Composer-Performer Relationship in Contemporary Music discusses the continually evolving relationship between composers and performers of Contemporary Art Music. The book begins with an historical overview of the roles and responsibilities of composers and performers, from the late Renaissance Period through the 20th Century. This overview includes a discussion of the evolution in instrumental techniques, performance practices, and musical styles during this time. Next it examines current practices and tendencies - a key concern stressed herein is the need for composers and performers to understand their inter-dependency and the need for a relationship that is flexible, not one-way (i.e. the composer as performer, the performer as composer). The book concludes with a summary of key considerations that both composers and performers must understand in order to facilitate active engagement of the listener.
HISTORICAL PRACTICES
In many respects the evolution of Western art music reflects the evolution of our civilization from the pre-Industrial age to its present state. This is illustrated below by the common musical genres and styles of those times, and how music was presented and performed.
Figure 1. Evolving Musical Practices
The Renaissance period featured multiple tuning systems, complex polyphony, preference for consonant sounds and intervals, greater use of instruments than in previous eras (in addition to vocal music, also writing of purely instrumental music), and the adoption of musical staff notation. The invention of the printing press was critical during this period, as this enabled written transmission of music, and also made a greater variety and types of music available to the general population. With music now notated and distributed (for transmission and performance), the notion of a distinct composer for a musical work (as opposed to music shared via oral tradition, with no distinct author) became established. The composer typically functioned as the performer (or one of the performers) of the work, and the common musical styles of this era were understood and employed by all musicians. The notated music provided flexibility for performers to supply creative input for the sounding music, and thus the overall presentation was a shared, participative musical experience for composers, performers, and listeners alike. Music during the Renaissance period was typically performed in private settings, amongst a dedicated audience (particularly for secular performances, the musicians and performers were in direct contact), and for specific occasions.
Well temperament became the common system of tuning during the Baroque period. Flexibility in the musical content was provided through improvisation, use of cadenzas, multiple types of ornamentation, and other devices. Instruments that continue to the present day (violin family, woodwinds, brass) began to be standardized, and composers began to write specifically for certain instruments – in previous eras music was typically composed without a specific instrumentation or orchestration in mind, and then adapted as necessary by musicians for performance. The written music of the period was harder to perform (than that composed during the Renaissance), and thus required greater skill on the part of the performer. As a result of these changes the roles of composer and performer became more specified, however all practicing musicians continued to hold both roles.
The Classical period saw a further increase in the specification of both musical content (basso continuo written out, indication of instrumentation in scores) and musical parameters (tempi indicated, general indication of dynamics, phrasing, articulations, etc., particularly for key phrases/sections). The degree of performance freedom was thus reduced, and the performer became more of an interpreter of the written music rather than having creative input for the sounding music. Musicians began to specialize more on certain instrument(s); this was accompanied by a corresponding rise in complex instrumental writing (for violin, harpsichord/piano, etc.). This increased specialization, clearly defined instrumentation, and more complex writing lead to the rise of the virtuoso performer. Correspondingly, a wider separation between the composer and performer began to be observed, as specialization became increasingly necessary for composition and performance of this music. Of course, composers continued to perform music on their chosen instrument(s), but it became more common for composers (and performers) to proceed separately, with performers focusing primarily on their skills as interpreters of this music. In addition, as classical music became more available to the general population, music began to be presented to a wider, more separate audience at specific (concert) events.
During the Romantic period the gap between music composition and performance continued to widen. Composers assumed even greater control of the music - all of it (including cadenzas) was now typically written-out, with little if any element of improvisation or spontaneity provided for the performer in this regard. The expansion of form (thematic elements, micro/macro musical forms, key modulations, much greater use of dissonant sounds and intervals, more complex instrumentation, etc.) that was common during this period placed ever greater emphasis on the role of the composer as the creator of the music, while the performer became almost strictly responsible for the interpretation of the composer's work. To some degree other musical parameters (tempi, dynamics, phrasing) came under a wider range of specification as well (for example, composers took great pains to indicate expression markings in their scores). Regarding presentation and occasion for performance, music in effect became more of a business whose end product was consumed either through the public's attendance at concert events or the purchase of musical artifacts (scores, books about music and musicians, etc.). The development of musical training facilities (conservatories, etc.) enabled musicians to achieve ever-higher levels of skill in the chosen specialty (music composition, theory, or performance). The dramatic increase in musical education brought a wider, more sophisticated audience, and many composers took advantage of the greater regularity of concert life, and the greater financial and technical resources available. These changes brought an expansion in the sheer number of works composed, and performed. The establishment of conservatories and universities also created centers where musicians could forge stable teaching careers, rather than relying on their own entrepreneurship. Clear boundaries were now present between the composer, performer, and listener; musicians typically specialized in either composition or performance. While many composers were also performers (as had been the case in previous eras), the notion of “the composer in the ivory tower” became more commonplace. However, even with this profusion of musical forms, expansion of musical content, and larger instrumentation, the overall musical language (e.g. common practice period tonality, rhythm, and harmony) remained understood by composers, performers, and the general public.
All of this changed during the 20th Century, which was marked by a multitude of different musical styles and languages. As the common musical styles and language of the Romantic period broke down, composers created (or adopted) other musical styles and languages. During the 20th Century there was no common, universal musical style or language that was shared and understood by composers, performers, and the public. Individuality, a hallmark of modernism and personal expression, was clearly reflected in the music created. Even the question what is music caused considerable debate. This lead many composers down one or more general paths: 1) increased specialization with even more control exercised over the musical content and parameters of performance, 2) an adoption of other musical styles and practices (whether from earlier periods, different cultures, or different musical styles [e.g. jazz, pop]), 3) a simplification of musical content, in reaction to the complexity of late Romantic and 20th Century musical styles and languages (minimalism, New simplicity, etc.), or 4) a loosening of control over musical content and performance (indeterminacy, aleatory, free improvisation, etc.). The development of electronic music in the 2nd half of the century spurred the creation of new musical styles (spectralism, etc.). The adoption of recording technology changed the way in which music was heard by the audience (and also how it was performed); it became possible to listen to music outside of traditional, shared venues, in total isolation (from the composer and/or performer). It was now also possible to create music that could be realized without performers (for example, musique-concrète). Hence the separation between the composer and performer (and listener as well) was maximized. As this explosion of musical styles, languages, and even processes continued unabated, the relationship between the composer and performer became more specific and dependent upon the unique skills that each brought to the realization of the sounding music. Many composers wrote works with specific performers or ensembles in mind, working directly with them to realize the music. Composers also tried to more actively engage performers, often by providing an element(s) of flexibility (e.g. controlled chance) in their work. On another front, the development of electroacoustic music lead to a re-investigation of the capabilities of traditional acoustic instruments and an explosion of new technical possibilities. Given these many developments it became critical for composers and performers to develop a greater understanding of their interdependencies in realizing the sounding music.
CURRENT PRACTICES
The pluralistic nature of our 21st Century society is also reflected in Contemporary Art Music. On the part of many composers there have been attempts to combine elements of multiple styles of music. There is also less differentiation between genres; this is reflected in the sheer diversity of music available today, potentially even in the works of a single composer.
New Musical Genres and Practices
Contemporary Music is marked by the plethora of musical genres and styles in use today; in fact, this sheer diversity, while welcome, also presents a challenge to the performer and listener. It also impacts the composer-performer relationship on many levels.
Performance practices continue to evolve, building upon the advances of the 20th century. This includes the use of instruments traditionally used in other genres (pop, etc.), the development of new instruments, computers and electro-acoustic instruments, experimental custom-made instruments, and the adoption new techniques for traditional instruments.
While the tremendous diversity of 21st Century music provides us with greater possibilities of musical exposure and growth, it can also present problems for the performer and listener, as it becomes more challenging to understand the essence of the work. The continual rapid change of technology has had a far-reaching impact on how we experience music as well; the sense of a shared, communal musical experience that served in some respect to reinforce our common beliefs and values has been almost totally replaced by our consumer-oriented, isolated modern societies, where it is possible to have virtual interactions across the globe yet virtually no real physical contact with other people. Even the notions of community and society are somewhat passé and hard to define. For the composer and performer there are enormous freedoms and possibilities, and there are now many musicians that specialize in the music of different genres, styles, cultures, even eras. This has lead to the creation of works that employ diverse musical genres and compositional techniques. In addition to the performance of traditional art music, musicians now routinely play period music and/or world music on authentic instruments. Composers of contemporary music must at some level understand all of these realities.
PERSONAL PERSPECTIVES
I believe that music, when performed skillfully by committed, engaged musicians, is a timeless reflection of the essence of our humanity; something that unites us yet paradoxically also demonstrates our uniqueness as human beings. As a composer I consider each musical instrument as a canvas for the imagination, a specific tool that possesses its own unique, characteristic energy. One of the beauties of performance music is that it provides the vehicle for the creation of a live sounding music that embodies the creative spirit of each participating musician, is inherently new and unique with each re-creation, and thus depends upon the active engagement of composer and performer. It is only when this union has been achieved that we can then engage the listener, and thereby realize a complete, shared musical experience. Composing music for performance requires respect for an instrument(s) and its traditions, but also refusal to limit oneself to what has already been discovered, as we are nowhere near exhausting its (the instrument's or the performer's) inherent possibilities. Composing music for performance is challenging, it is a challenge that we all (as composers) willfully undertake. During this process I am careful to take into consideration the basic structural characteristics of the instrument(s), its fundamental mechanism(s) of sound production, and any basic limitations. I also consider the context within which the instrument will be used, and how it interrelates with other instruments being used within the work. These are some of the basic concerns that a composer must address in order to absorb the instrument in his imagination, effectively making it a part of him, a part of the music that he conceives and realizes (whether through a score or some other form of instruction). In addition, the composer must be sensitive to the capabilities of, and the demands placed upon the performer. In fact, performance music cannot be realized fully unless performance considerations are taken into account throughout the process of conception through realization. With that in mind I summarize my basic approach to the Composer-Performer Relationship as follows:
Engagement
Always engage the performer, beginning with the work's conception through its ultimate realization.
Involvement
If at all possible, work directly with the performer(s) while notating the music, paying particular attention to your musical intention and how this can be realized. The more one engages the performer in the realization of the sounding music, the more these energies will work in concert, thereby communicating the music with the energy and clarity desired.
Control
Release control: the more a composer considers the realization of music as a process which requires active involvement on the part of all parties (composer, performer, and listener), the less separation between the roles. In effect, when conceiving and notating a work for performance, it is vital to consider interpretive possibilities (the composer as performer); likewise provide room for creative engagement on the part of the performer (the performer as composer). • Engage performers both musically and technically, but be practical: great performers absorb themselves in music and their instrument. If a composition doesn't provide (to the performer) an appropriate amount of stimulation (musically, and also in some cases technically), it can become difficult for a performer to “get into” a work and provide their full creative input. Hence as composers it is of vital importance to clearly and concisely convey (in the score) the key musical concerns of the composition. This has to be balanced by performance concerns, to avoid composing a work that is unplayable by the performer in question.
In sum, the composer must function as a portal to give voice to the universal art that exists inside us all, and then subsequently realize these ideas (i.e. composition) with the performer (and listener) in mind (i.e., the composer as performer). Likewise the performer should have an awareness of the concepts, ideas, and styles that are vital to the work in order to infuse the work with his creative energy, thereby providing an accurate and artistic interpretation (the performer as composer).
CODA
Given that the performer is the medium for realizing the sounding music, performance issues must always be taken into consideration. These issues are both technical and psychological in nature – basic technical capabilities and concerns must be understood and respected, otherwise the music composed will most likely not be what is heard and perceived by the listener and the performance will lack authenticity and expression. Of equal significance, it is vital to engage the performer in the work such that it is played skillfully and communicates the true essence of the music (and performance) to the listeners. In this way the listener is able to truly perceive (and become actively engaged by) the music presented by the Composer- Performer duo.
Keith Lee is a composer whose works have been performed in the USA and internationally. His musical influences are wide-ranging and include western classical music, eastern musical thought and traditions, and ethnic music. The website http://www.pellago.com is a great place for more on information on new music and his musical activities.
In addition to his musical pursuits Keith is also a Software Architect and Engineer who has been implementing software systems for over 20 years. He has a vast range of experience implementing desktop applications, distributed (server-side) systems, and software for mobile devices. He has published books and articles on various IT topics, most recently a book on Objective-C programming (Core Objective-C in 24 Hours) which can be found at various distribution sites along with the website http://www.motu-presse.com.