Drawing Music, Marking Time (Hardcover)

David Griffin

ISBN 10: 135044748X / ISBN 13: 9781350447486

Published by Bloomsbury Publishing PLC, London, 2025

About this Item

Hardcover. Marking down the complexities of musical pieces on paper allows them to become portable, shareable, and eminently teachable, but how are the simple geometries of a music notation unfolded into space and time?A music notation is an almost impossibly complicated bit of drawing. Calling it a map or a diagram does not quite do the trick. Its tracery supplies mechanisms for planning, composition, analysis, annotation, and performance of music. But how is it that we read that simple, strategic two-dimensional geometry and make such complex, four-dimensional performances? In this book David Griffin guides readers to a comprehensive understanding of the structural properties of music notations, with a particular focus on the standard Western staff notation system, looking at composers such as Bach, John Cage, Earle Brown and Stockhausen.Developed over a thousand years ago, the staff notation is a geometrical drawing method using dots and lines on a horizontal timeline for explaining the structure of a musical piece. The system behaves a bit like a picture, but it is also like a diagram, and a bit like writing in its structure. In the hands of an experienced user, the notations complex of marks and phatic elements allows us to leave behind the mere denotation of diagrams or pictures to become a connotative drawing system. This book will attempt to de-code music drawings, untangling their strange knots of graphic and linguistic elements. Using a series of visual examples, Griffin presents background information on how the staff notation developed as an inter-linguistic inscription, a drawing that slips through the mere denotation of pictorial or diagrammatic graphics to become a connotative system, with which we may craft subtle and powerful elements of musical poetry. "Music notations are drawings, of course, but how can we determine exactly what kind of drawing they may be? And what other drawing methods are in use that can illuminate what is happening in a music notation? How do we explain the persistence of this extraordinary visualizing system? David Griffin explores the coding that musical notation offers"-- Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Seller Inventory # 9781350447486

Bibliographic Details

• Title: Drawing Music, Marking Time (Hardcover)
• Publisher: Bloomsbury Publishing PLC, London
• Publication Date: 2025
• Language: English
• ISBN 10: 135044748X
• ISBN 13: 9781350447486
• Binding: Hardcover
• Condition: new

About this title

Synopsis

Marking down the complexities of musical pieces on paper allows them to become portable, shareable, and eminently teachable, but how are the simple geometries of a music notation unfolded into space and time?

A music notation is an almost impossibly complicated bit of drawing. Calling it a map or a diagram does not quite do the trick. Its tracery supplies mechanisms for planning, composition, analysis, annotation, and performance of music. But how is it that we read that simple, strategic two-dimensional geometry and make such complex, four-dimensional performances? In this book David Griffin guides readers to a comprehensive understanding of the structural properties of music notations, with a particular focus on the standard Western staff notation system, looking at composers such as Bach, John Cage, Earle Brown and Stockhausen.

Developed over a thousand years ago, the staff notation is a geometrical drawing method using dots and lines on a horizontal timeline for explaining the structure of a musical piece. The system behaves a bit like a picture, but it is also like a diagram, and a bit like writing in its structure. In the hands of an experienced user, the notation's complex of marks and phatic elements allows us to leave behind the mere denotation of diagrams or pictures to become a connotative drawing system.

This book will attempt to de-code music drawings, untangling their strange knots of graphic and linguistic elements. Using a series of visual examples, Griffin presents background information on how the staff notation developed as an inter-linguistic inscription, a drawing that slips through the mere denotation of pictorial or diagrammatic graphics to become a connotative system, with which we may craft subtle and powerful elements of musical poetry.

About the Author

Marsha Meskimmon is Professor of Modern and Contemporary Art History & Theory at Loughborough University, UK.