833032

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The Tactility of Time (Darmstadt Lecture 1988)
Author(s): Brian Ferneyhough
Source: Perspectives of New Music, Vol. 31, No. 1 (Winter, 1993), pp. 20-30
Published by: Perspectives of New Music
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THE TACTILITY OF TIME 
(DARMSTADT LECTURE 1988) 
BRIAN FERNEYHOUGH 
IN SPITE OF the strange, portentious-seeming title, you should not 
think of this talk as being some sort of hermetically self-enclosed 
object. Some of you have, I suppose, attended Darmstadt in earlier years 
and will thus be aware of the virulent spread of the peculiarly aggressive 
assertion that one cannot really talk about music at all-or at least, not in 
any meaningful way on matters of compositional intention and tech- 
nique. However strange it may seem that many hours of lecture time 
have been consumed with verbalizing this thesis, this is not something 
that I want to overemphasize today: rather, I would like to talk, not so 
much theoretically (although there will be a little of that, perhaps), but 
speculatively, on the search for a possible language in which one central 
aspect of my own compositional concerns may be provisionally formu- 
lated, that is, the concept of time and the concrete sensation of its pres- 
ence as manifest in one particular piece, Mnemosyne for bass flute and 
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The Tactility of Time 
prerecorded tape. In pursuing this goal it may be that I will come a per- 
sonal step further in reestablishing such topics as possible areas of 
practical/theoretical discourse in such contexts as this. 
Mnemosyne (the eponymous Greek goddess of memory) forms the 
final part of the evening-filling Carceri d'Invenzione cycle after Piranesi, 
which was given its first complete performance at the 1986 
Donaueschingener Musiktage. The reason that I am presenting this piece 
today is that, when starting work on it, I adopted a new approach to 
processing the interaction between large-scale formal/variational struc- 
ture and its temporal contiguity. The anamorphic, perforated 
"motivicity" of the rhythmic patterning in the live bass flute part was 
locked into the linear expansion of primary and secondary pitch domains 
with a view to rendering immediate various degrees of temporal 
"tactility"-that is to say, situations in which alterations in the flow of 
time through and around objects or states becomes sensually (con- 
sciously) palpable. I employ the term "tactile" even though I am well 
aware of the problems attached to the uncritical transference of vocabu- 
lary from one area of discourse to another. Still, we have sufficiently fre- 
quent recourse to physical, bodily analogies when referring to musical 
events for such an extension to have some inherent intuitive plausibility. 
If it would not be entirely inappropriate to classify musical events of, for 
instance, high amplitude according to criteria such as "weight" then it 
would also seem legitimate to seek communally acceptable terms for the 
fluctuating balance between the identity of discrete event-objects and 
their temporal frames of reference. What, in Webern and after, could be 
said of silence as a "contextually defined empty class" can surely be 
extended to the larger empty class of time itself. 
Even though, when talking about "tactility" in musico-temporal 
terms, one is speaking with connotational rather than denotational 
intent, I still feel that the term serves to identify an experience most of us 
have occasionally had. When we listen intensively to a piece of music 
there are moments when our consciousness detaches itself from the 
immediate flow of events and comes to stand apart, measuring, scan- 
ning, aware of itself operating in a "speculative time-space" of dimen- 
sions different from those appropriate to the musical discourse in and of 
itself. We become aware of the passing of time as something closely 
approaching a physical, objectivized presence. There have been occasions 
when I have had the experience of time "sliding" across the inner surface 
of the brain with a certain impetus: it seems to be the weight and 
sequential ordering of resistances offered by whatever evaluational model 
the mind is currently attuned to, combined perhaps with some form of 
inertial energy generated by this encounter (and by the separate aware- 
ness that this is happening) which creates an irregular segmentation of 
experiental continuity and, hence, of the awareness of time as a distinct 
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Perspectives of New Music 
affective entity. One specific compositional problem I have recently been 
working on is: how can this "objectivized" sense of time be invested 
with specific form-articulating qualities? One approach to this issue has 
been adopted--on a plurality of interreferential levels- in Mnemosyne, 
and revolves around questions of metre as defining feature of experience- 
units. 
There appears to me to be a major difficulty at the present juncture in 
assigning important areas of formal organization to abstract metric or 
rhythmic frames. Similarly, it seems doubtful if received conventions of 
"speech resemblance" are still widely applicable as tools for suggesting 
"natural" or "anti-natural" rates of flow for particular categories of musi- 
cal event, even though it is clear that all involuntary and most voluntary 
bodily functions (heartbeat, rate of breathing, adrenalin flow, and so on) 
ultimately contribute significantly to the temporal perspective adopted 
by the listener. It's a dual relationship: if we postulate a metric structure 
and we project against it musical objects we have one specific frame of 
reference; it must also be born in mind, however, that there is a parallel, 
more subtle frame at work, i.e. the relationship established between the 
body's somatic condition and the mediating metric lattice. We perceive 
this latter as being itself "fast" or "slow" according to our bodily condi- 
tion. Since there is a constant feedback between the two poles the posi- 
tion (perspective) of the listener is constantly in motion-for instance, in 
respect of the perceived density or rapidity of the surface of the music 
itself, the understanding of what is to count as an object at that point in 
the relationship. 
This issue has sometimes been practically harnessed to musical 
expression-as, for example, in Holliger's Cardiophonie for oboe, in 
which the rapidity of execution progressively accelerates in proportion to 
the excitation of the physis as a direct result of the performative act. 
Something similar is found in the same composer's Holderlin cycle, in 
one of the vocal movements of which each singertakes an independent 
tempo from her own pulse rate, taken by holding a finger to the wrist. 
Here, the tempo diverges considerably from performer to performer as a 
function of personal temperament and the nature of the material to be 
sung. My own immediate interest in Mnemosyne and the Third String 
Quartet was the creation of fore-, middle-, and background transforma- 
tions which would evince different somatic densities. There seems to me 
to be only a rather small number of strategies according to which we can 
allow a musical discourse to manifest the feeling of time as something 
concretely present, as having, as it were, a specific gravity all its own- 
perhaps different from but certainly equal to that encountered in the 
materials employed. One of these strategies pertains specifically to the 
nature of the musical objects themselves: we perceive discrete events as 
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The Tactility of Time 
being of a certain density, translucency, as moving with a greater or lesser 
degree of dynamicism relative to the amount of information contained. If 
the perceived potential for informational substance is rather high, the 
time frame required for the efficient reception and absorption of that 
information is usually more expansive, so that if the time frame is delib- 
erately compressed a sense of pressure, of "too little time" emerges as a 
major factor conditioning reception-something which leads the listener 
to categorize the musical flow as "fast." Thus, when listeners to my 
music say that it is "too fast" they tend to mean, not that the momentary 
density of events is excessive, but rather that there is a sort of "time lag" 
zone located in the wake of the event itself which is the real arena of 
temporal sensation. Sometimes, to be sure, there is a certain resentment 
caused by the feeling of being pushed somehow beyond the "normal" 
threshold of temporal tolerance, into an area in which provisionally erec- 
ted frameworks are continually being violated by current events which 
invade them. The challenge, of course, is to specify objects which sug- 
gest such a high degree of internal coherence that the listening ear is nec- 
essarily twisted at an angle towards a structured awareness of the 
insufficiency built into the dimensions of the time-space within which 
the object is located. As a result, the time frame itself becomes rather 
"gluey"; it stands apart and offers relentless resistance to linear energies. 
I suppose that all of us have occasionally had dreams of attempted escape 
from some unnameable fear in which our feet are caught in some sub- 
stance such as glue or molasses, so that it's a tremendous, step-by-step 
effort to keep moving. That is but one basic example of the sort of expe- 
rience I'm talking about. 
The more the internal integrity of a musical event suggests its auton- 
omy, the less the capacity of the "time arrow" to traverse it with 
impunity; it is "bent" by the contact. By the same token, however, the 
impact of the time vector "damages" the event-object, thus forcing it to 
reveal its own generative history, the texturation of its successivity: its 
perceptual potential has been redefined by the collision. As the piece 
progresses we are continually stumbling across further stages in this cat- 
astrophic obstacle race. The energy accumulation and expenditure across 
and between these confrontational moments is perceived as a form of 
internalized metronome, and in fact it is a version of this procedure 
which most clearly fuels the expressive world of Mnemosyne: the retarda- 
tional and catastrophic timeline modifiers are employed equally to focus 
temporal awareness through the lens of material. The means employed 
derive, for the most part, from the varied "filtering" (erasure or confla- 
tion of rhythmic impulses) of a highly rationalized set of precomposed 
metric/rhythmic models. The choice of medium (solo instrument and 
prerecorded tape) is a direct reflection of my basic concept: how can 
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Perspectives of New Music 
"transparency" and "resistance" of musical materials with respect to tem- 
poral perspective be foregrounded as expressive energy? 
The problem was addressed on three fronts simultaneously: (1) the 
manifestation of background metric spatio/temporal coordinates on the 
eight-track tape (where only the downbeat of each and every measure of 
the piece is attacked); (2) the "interference patterns" created by the par- 
tial erasure of the subsurface rhythmic models (their degree of explicit 
representation); and (3) the prevailing level of explicit interruptive 
activity in the solo part, whereby each of the three lines of independently 
calculated rhythmic patterns is able to cut off already present actions on 
one or both other levels. (In a monophonic instrument, it is clear that the 
entry of material on a second level necessarily causes that on the first 
level to be broken off, regardless of its written duration.) These three 
aspects thus have the interruptive strategy in common, since even the 
metric structures of the tape material are based on continual crosscutting 
between measures employing eighth-note beats and those characterized 
by particular fractions (usually quintuplet or triplet values) of those 
beats, whereby the "feel" of the relationship between surface gesture and 
(for the audience inaudible) click track is constantly changing. In addi- 
tion, what is true between measure and measure is also valid for the 
tempi relationships between adjacent sections. It is important that the 
performer come to creative terms with this pyramid structure of conven- 
tions: a note begun as if it were going to continue for its full written 
length, for instance, is going to have a considerably different effect when 
interrupted than a note written as having an identical real duration (even 
supposing that, in context, to be possible). Performative shaping energy 
will be distributed according to quite other criteria, other mental 
trajectories. 
It's clear that, if we have several musical objects following on from one 
another, we will perceive the flow of time differently according to 
whether (e.g.) these objects are obviously crossrelated, whether they are 
connected by gradualistic transformations in one or more parameters, 
whether there exist codifiable consistencies in intervening "buffer mate- 
rials," and so on. If, for instance, we move through a piece entirely on 
the basis of quasi-instantaneous modulations ("film cuts") then the 
irregular weighting of the temporal dimension is magnified by the paral- 
lel disposition of material identity and exclusivity of temporal container. 
Concomitantly, the tempo flow within any one of those same units 
becomes somewhat less constitutive. If, on the other hand, we postulate 
a music whose structural extremes, whilst equally powerful, are less 
obvious, relegated to a set of subsurface ordering mechanisms (like 
predicting the length of a measure in the density of impulses in the 
immediately preceding measure), then our ears naturally adopt other as- 
sumptions of priority, of grouping in time, even where general density 
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The Tactility of Time 
and stylistic ductus are directly comparable. I actually used rhythmic 
substructures identical to those in Mnemosyne in Intermedio for solo vio- 
lin, but the end effect was very different precisely because I deliberately 
chose other conventions of immediate and mediated "causality,"different 
assemblages of density units within distended metric frames. At least for 
the performer, the overlaying of fluctuating metric frames on essentially 
homogeneous materials provides important clues as to the latter's struc- 
tural segmentation characteristics. At the same time, one can imagine 
manipulating actual sonic density within this model in ways supportive 
of or subverting the information gleaned from the metric patterning. 
The aperiodic cycling with respect to one another of these two levels 
permits the projection of further macroperiodicities of great utility as 
regards large-scale formal articulation. In each instance we encounter 
"threshold" values (of duration and/or density) beyond which the experi- 
ential function of that value trajectory-its status as active formal 
marker-undergoes radical transformation (e.g. from field to event- 
object or from primary process to secondary intervention). 
In this particular composition there is the added aspect of the click 
track. It was suggested to me by a number of performers that, ultimately, 
they would be sufficiently familiar with the temporal proportioning (its 
"contextual naturalness") to be able to dispense with the click altogether; 
I am not in favor of this, though, since the mental interference patterns 
set up by (say) attempting to weave x number of regular impulses into a 
measure broken up in the performer's ear into y clicks contributes a lot, I 
think, to the moment-to-moment flow of expressive tension. The clicks, 
in such cases, provide "micromeasures" serving to divide up the material 
in an analogous way to the role of measures in a given section. If the 
flautist were to abandon the click track, it seems likely that he would 
expend significantly more energy in "phrasing" the material more tradi- 
tionally, weakening the interaction of the specifics of rhythmic detailing 
and larger aspects of temporal organization. 
So this is the first aspect of what I shall term metric contextualization. 
The second might be called that of interruptive polyphony (both ulti- 
mately subsumable to the larger category of interference form). You will 
notice that the bass flute part is written out on between one and three 
staves (Example 1). 
The number of staves employed is, in fact, one of the factors delineat- 
ing the overall formal progression. What is happening is this: each stave 
employed represents the results of an independent rhythmic process. 
Since these run concurrently and are, in part, not mutually (gram- 
matically) compatible in terms of reduction to one particular common 
denominator it is clear that no monophonic instrument is going to be 
able to perform all materials on all three lines. With a piano this doesn't 
matter: there's the possibility of distributing three voices among two 
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Perspectives of New Music 26 
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The Tactility of Time 
hands. It is interesting that what comes naturally to a keyboard player 
encounters tremendous resistance in the minds of (say) woodwind solo- 
ists, who are not accustomed to freeing up the "natural" relationship 
between hands, or hand and embouchure. In this instance, however, I 
am not (always) notating partial aspects of single sounds, but distinct 
musical processes. What happens is that each of the three lines has its 
own typical materials in any given section; hence, there is always a par- 
ticular priority pattern characteristic of the lines among themselves-one 
is always dominant, the others accompanimental, interjectional, or other- 
wise subordinate. Similarly, particular tone colors, registral distributions, 
or degree of relative density contribute to the sense of separation of 
essences between simultaneous layers of linear unfolding. Since the 
monophonic capability of the instrument comes into continual conflict 
with the highly polyphonic nature of the superincumbent materials, 
events or event chains are always being interrupted by the beginning of 
new events on other levels. For the most part, events are not held for 
their full durations before being broken into by reminders of the claims 
of other, "suppressed" tendencies. The degree of "tactility" emerging 
from this subversion is dictated in large measure, firstly by the amount 
of perceptible regularity or consistency set up in the predominant layer, 
and secondly by the degree of explicitness with which the interruptive 
functions themselves assume a certain measure of predictability. How the 
layers interact in detail is left to the performer to determine, since it is he 
who assigns relative hierarchical values to the intersecting or colliding 
linear tendencies. When notating the piece I had to determine a method 
of precisely locating the commencement of each sound, together with the 
point at which it is interrupted by an event elsewhere: for this I selected 
the convention of a continuous horizontal line drawn from the notehead 
on the first level to just above or below the interrupting event, connect- 
ing the two with a vertical line (Example 2). 
So far we have covered four major facets of time-flow control in 
Mnemosyne: (1) the relative duration of measures as "constellation 
spaces"; (2) the density of material presented within each space; (3) the 
interaction of click track with the distribution of materials; and (4) the 
intensity and explicitness of interruptive function with which the effec- 
tive simultaneity of vectorial tendencies is exposed. There are obvious 
parallels and intersections of these classes: I am always concerned with 
providing as many structural bridges as possible between categorically 
distinct levels of listening. Analogous but not identical principles of 
ordering and listening are the goal. 
A further essential perspective is given by the tape-something I 
briefly mentioned earlier. There, I described how the "micro metro- 
nome" of the click track is "resonated" by, and counterpoised to, the 
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28 Perspectives of New Music 
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The Tactility of Time 
"macro metronome" marked by the succession of downbeat impulses 
provided by the taped bass flutes. Several further essential functions are 
served by the tape, among which are: the provision of an essentially 
cumulative formal drive (against the solo instrument's more nonlinear 
tendencies); the sonic definition of "constellation spaces" as given by the 
bar proportions; the signaling of new sections by heavy eight-note 
chords and, not least, the increasingly emphatic imprisoning of the bass 
flute in a complex web of reference pitches-something which provides 
more clear orientation but also undermines his gesturally directional 
autonomy. Since the soloist is permitted to play only (a) pitches already 
sounding in the tape or (b) secondary pitches articulating a specific (and 
ever-reducing) repertoire of intervals around those primary pitches, the 
reliance of the bass flute's pitch material on that simultaneously sounding 
on tape becomes more and more constricting. By allowing the accretive 
tendencies in chordal density of the tape (starting with a single pitch, 
moving gradually up to eight pitches) to intersect with these reductive 
tendencies in the solo line, large-scale patterns of tendential flow are 
established against which specific conjunctions may momentarilygive 
rise to nonlinearly perceived events. It is the pendulum-like motion 
between various degrees of background flow criteria and the sudden 
emergence of such relatively unpredictable events which serves as the 
vehicle of "temporal tactility." At the beginning and end of the piece the 
functional dichotomy is very clear, the hierarchies distinct; the specifi- 
cally transgressional aspect of the two levels is at a minimum. At the 
beginning you will hear only a single note in the tape counterpoised 
against a great variety of intervals and movement in the bass flute. At the 
end, precisely the opposite is the case, that is, a high density of pitches in 
the tape has reduced the solo line to a mere demonstrative horizontaliza- 
tion of that verticality, exhausting thereby its linear energic potential, its 
ability to penetrate the opaque time screen of tape chords. Clearly, all 
sorts of games can be played with directional and intervallic consistency 
when relating secondary intervals to primary pitch identities: various 
consistencies of explicitness in processual attachment can aid or hinder 
the general prevailing degree of linear consistency. It is only in the inter- 
stices of these "grey zones" of destabilization that the instantaneous shift 
in perspectival assessment underlying the entire "tactile" dimension of 
temporal flow becomes dominant; oblique temporal scanning is 
predominant-the mental distance to be traversed having been increased, 
the "speed" at which perceptual assessment mechanisms must move in 
relation to the density of material unfolding is constantly changing, is 
being compressed or attenuated. 
In all this I have said nothing specific about the function of tempo and 
metre proportioning. Suffice it to say here that, just as all tempi relate 
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Perspectives of New Music 
directly back in a limited number of ratios either to the base tempo or to 
immediately preceding tempi, so metric structure within the groups so 
formed utilizes "irrational beats" relating to the prevailing beat speed in 
similarly derived proportions. From section to section there are also 
gradual modifications (of a linear additive or subtractive sort) in bar 
length, but I would need a much lengthier presentation to lay out the 
precise paths taken by these various vectors in their dance of approach 
and avoidance. It is my view in general that the awareness of temporal 
flow as a sensually palpable and thus relatively independent given is in 
large part dependent on both the communal resonantial capabilities of 
these several levels of organization and the disruptive astonishment gen- 
erated in the wake of their occasional intersection, collision, and mutual 
subversion. This seems to me a major compositional resource. 
First published, in German translation, in MusikTexte 35 (July 1990):14-17. 
30 
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	Article Contents
	p.[20]
	p.21
	p.22
	p.23
	p.24
	p.25
	p.26
	p.27
	p.28
	p.29
	p.30
	Issue Table of Contents
	Perspectives of New Music, Vol. 31, No. 1 (Winter, 1993), pp. 1-338
	Front Matter [pp.1-328]
	[Illustration]: S. A. Jones: Detail from Pu'u O'o, 1992, Acrylic on Canvas, 37 by 44 Inches [p.5]
	Complexity Forum
	Why Complexity? (Part One) (Guest Editor's Introduction) [pp.6-9]
	Il Tempo della Figura [pp.10-19]
	The Tactility of Time (Darmstadt Lecture 1988) [pp.20-30]
	[Illustration]: S. A. Jones: Porphyry, 1990, Acrylic on Canvas, 47 by 41 Inches [p.31]
	Complexity Forum
	Form-Figure-Style: An Intermediate Assessment [pp.32-40]
	[Illustration]: S. A. Jones: Space Sign, 1971, Acrylic on Canvas, 48 by 48 Inches, Collection of Dr. Martin Sarnes [p.41]
	Complexity Forum
	On Complexity [pp.42-57]
	Mere Complexities [pp.58-62]
	[Illustration]: S. A. Jones: Haleakala, 1991, Acrylic on Canvas, 37 by 43 Inches [p.63]
	Complexity Forum
	The Complexity of Experience [pp.64-77]
	Flourish for Solo Flute [p.78]
	[Illustration]: S. A. Jones: Dalradian, 1992, Acrylic on Canvas, 32 by 40 Inches [p.79]
	Complexity Forum
	New Perspectives on Old Complexity [pp.80-85]
	Minimalism Forum
	The Minimalist Aesthetic in the Plastic Arts and in Music [pp.86-132]
	[Illustration]: S. A. Jones: Beryl, 1989, Acrylic on Canvas, 36 by 38 Inches, Collection of Mr. and Mrs. Stephen Zetterberg [p.133]
	Minimalism Forum
	La Monte Young's The Well-Tuned Piano [pp.134-162]
	[Illustration]: S. A. Jones: Fernandina, 1992, Acrylic on Canvas, 37 by 40 Inches [p.163]
	Ligeti Forum
	States, Events, Transformations [pp.164-171]
	Interval and Form in Ligeti's Continuum and Coulée [pp.172-190]
	[Illustration]: S. A. Jones: Paricutin, 1993, Acrylic on Canvas, 42 by 46 Inches [p.191]
	Ligeti Forum
	The Pattern-Meccanico Compositions of György Ligeti [pp.192-234]
	[Illustration]: S. A. Jones: Chuquicamata, 1991, Acrylic on Canvas, 36 by 46 Inches [p.235]
	Computer Music Forum
	Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis [pp.236-257]
	The UPIC System: Origins and Innovations [pp.258-269]
	Supplementary Sets and Regular Complementary Unending Canons (Part Four) [pp.270-305]
	Colloquy and Review
	The "Endless Round" [pp.306-314]
	[Illustration]: S. A. Jones: Topaz, 1990, Acrylic on Canvas, 44 by 46 Inches [p.315]
	Colloquy and Review
	1992 Warsaw ISCM [pp.316-322]
	[Illustration]: S. A. Jones: Clinochcore, 1990, Acrylic on Canvas, 34 by 38 Inches [p.323]
	Editorial Notes [pp.324-327]
	Correspondence [pp.329-331]
	Erratum [pp.332-333]
	Back Matter [pp.334-338]