P53, Electric Percussion, the Integrity of Performances and Their Relation to Released Recordings that Embody Them.
Private Questions from a Student at Tokyo University
Q1:
On P53 CD you set improvised music into 25 tracks, to make them easier
to move around or to isolate, study, re-sequence, shuffle,cycle, or
skip. What do you think about the work of dividing the continuous piece
into tracks when you recorded it?
If you listen to the CD, the musical performance is still continuous so,
as far as the ear is concerned, the existence of 25 discrete track
points makes no difference. After all, music is sound and track marks
are just visual information. Putting track marks in is no different than
printing a novel in the form of a book and numbering the pages instead
of printing the whole thing on one long scroll. In that respect, I can't
see any disadvantages in marking tracks. Are there any advantages?
Firstly, there's convenience: tracks are like map references, they can
help you find your way around and they are useful if you want to listen
to a certain part only, or as a study aid. They also give the listener
more access to creative listening. Secondly, it has to be noted that the
greater continuity that conditions a live performance - that of shared
place and time and of contiguous and co-temporal human presence - is
already erased in a recording, as is information from all the senses but
one. So a recording already embodies a violent break with the
continuity of a real event.
Q2:
Mr. Yoshihide Otomo said in an interview, "Mr. Cutler reconsiders what
he did during the performance after it has been staged." Do you usually
analyze performance afterwards so as to set the tracks on the CDs?
No, I don't so much analyse as re-listen. I want a record to make sense
as a record, which is to say as a pure listening experience. So although
P53 may have improvised at its concert in Frankfurt, as soon as I
listen to the recording, what I am listening to is already no longer an
improvisation: firstly because it already exists, secondly because as
soon I have listened to it more than once, it begins to become a
composition for me. And the more I listen, and the more familiar I
become with what is going to happen next, the more of a composition it
becomes. This will be true for every listener. So my concern with a
recording is never as an improviser and always as a composer. Each
decision I have to make - is this recording worth working with, how
coherent is its structure, does its dramaturgy work, how might it be
improved? - is concerned only with the recording as a (potentially)
coherent listening object, in fact one that will have to bear repeated
listening - in other words, a composition. As a composer, then, raw
documentation only interests me in so far as it is raw material. Of the
event at which it originated, nothing remains but an enigmatic stream of
disembodied sound. Not just any disembodied sound, of course, a sound
full of meaning and musical logic, but not the logic of the concert. At
the concert the sound was situated in a context - that context is gone;
at the concert the sound was only one of many sources of sensation, now
only one remains. And what remains can not appeal to what is lost. So,
for me a recording has to work on its own terms independent of any
temporal or geographical source. It is either a coherent sound event or
it is not. And that is why, as far as I am concerned, documentary verity
doesn't justify a record release. Documentary verity is for historical
study, or showing off ("we really did this") or conceptual art - all
cases where its object is other than to be music.
I could invoke a principle here: that an artist should always respect
the medium he or she is working in, and for me the medium of recording
-because of its infinite repeatability - is one of composition. A
released record is more like a film than a play, more like an object
than an event, because it refuses to go away. For this reason recordings
demand a special kind of attention. A record listener hears a sound
object where a concert-goer experiences an event; a record compiler,
when working from a pre-existing recording, becomes a consumer of the
sound, where a performer is always its producer. In other words, faced
with a recording, both producer and consumer are equal - as consumers.
Now, in the case where I am considering my own recording for possible
release, I have to move to phase two, which is where I take the
opportunity to recompose what I hear using the existing recording as my
raw material. I could approach this work with the intention of retaining
and enhancing what I perceive as being 'already there', in other words
it could be a work of interpretation; or I could decide to make
something radically different out of it. Whichever I choose, the reason I
do it at all is not because I want to originate new material but
because I am claiming composer's rights over material that already
exists. The point I want to make is that anybody could take this
recomposing approach to any existing recording, and, in this sense at
least, all consumers are potentially producers - just as all original
producers of a musical performance are reduced to being consumers when
they are confronted with a recording of their own performance. Because a
recording is always already there.
So, why use live improvisation as a source for a record? One reason is
that music produced in real time for a real audience often has
complexities, subtleties and structural qualities that could never be
reached through composition or interpretation. It may well be - in my
case it usually is - that what I am interested in is to find and enhance
the musical logic that was produced, largely unconsciously, in the
deeply charged and focused environment of a real-time public
performance. And in this case, to recognise a potential record in a
recording of an improvisation, and then successfully to shape it into an
actual record - like Michaelangelo seeing a sculpture in a block of
stone and cutting it out - is a compositional skill, and should be
approached as such. A poor performance might still make a good record;
equally a great performance might make a bad one. So, never blame the
players for a bad improvised recording (unless they compiled and
approved it); it can only be a bad composition.
Q3:
On the contrary, there is no such division on "Fred Frith / Chris Cutler
Live 1,2", mixture of his performances in the 70s and two of yours' in
the 90s.
At what point do you make a distinction whether setting tracks or not.
I think I may have put index marks in earlier CDs, if not track marks.
But if the piece is short I would probably not break it up. Also, on
earlier records I just did not think about this question, so it was not a
conscious decision not to add marks. Now I would break up any long
piece, just for listener convenience.
Q4:
When we re-arrange the order of the tracks on CD, the piece may be
substantially changed from the live performance. Re-arranging the order
may cut off the flow of the sound and combine previously unconnected
sequences. What do you think about the relationship between the live
performance and the recordings on the CD?
Re-arranging the tracks will destroy the structural integrity of a
linear, unfolding piece, it will dislocate a given structural logic.
This might not suit the original composer but, as I have already said,
since a recording is not only the trace of an event but also and always
raw material too, then for a listener, the ability to experiment with
random or planned dislocation might well have a value - for instance in
that Cagean, Zen sense of unhooking reflex and habit in order to arrive
at something unfamiliar and surprising. Once you have listened to the
p53 CD in its intended order a few times, if you then play it in shuffle
mode it's extraordinary how unrecogniseable much of it becomes. Even
sections you know well sound different when they emerge unexpectedly
from the 'wrong' place and then fail to develop in the manner to which
you are accustomed. When each listening is different in this way, the
listener is forced to continue to listen and not allow the brain to
switch into habit mode. It makes you hear more, and hear differently.
So, in this sense at least the shuffle function could be seen as a
valuable tool. I say tool because I am not sure whether experiments like
this have a musical value or not. They certainly have an educational
and philosophical value; and raise highly provoking questions about
structure, intention, expectation, chance, coincidence, the psychology
of listening and the objectivity, or subjectivity, of order.
Q5:
In "June 12 1998 at the edge of chaos", you shifted the electronic
instruments though the sound did not change much. How do you see the
connection between gestures and sounds? The only thing we can do with a
CD is just to listen to it, even though we can't see what the
performance is like.
Exactly. A record is only a sound object. All records are by definition
acousmatic - which means that the source of the sound cannot be seen.
Since a record only speaks to the ear it inevitably renders most
traditional performance values, such as gesture, the shared creation of
time, the physical force of sound, universal amplitude and timbre,
meaningless. That is why, in the age of recording, these same values
have become increasingly important; it is their confrontation with their
own absence that has conferred an enhanced semantic and sensational
force upon them . What else could live music offer in the face of
perfect and perfectable recordings?
So, in a performance I care a lot about the relation between gesture and
sound - and that is why I have a problem watching motionless people
hunched over laptops while World War Three pours out of a PA system; I
just can't help wondering if the sound is coming from them or whether I
am just listening to a CD. So, while in the case of traditional
instruments there is a clear and manifest relation between the
information that reaches the eye and the information that reaches the
ear, with laptops and samplers - even when they are played 'live' - the
experience is still an essentially acousmatic . And for me, that is a
problem. Certainly, I evolved my electrified kit with a view to
maintaining a clear relationship between what I have physically to do in
order to produce a sound, what the public sees and what all of us
together hear.
Q6:
I think the important point of your play is the process of creating
sounds. Do you see CDs as supplement containing this process? There are a
huge numbers of combinations of track order, and still I think CDs are
not completed product. Or, would you say it is a part of extension of
your play?
As a composer I want you to listen to my work as I intend you to listen
to it and in a concert, this is almost possible, since we are all in the
same space at the same time, listening to the same thing. But as a
listener - and as the producer of a sound object - I am also happy that
the medium makes it possible to change the volume, equalisation or order
of tracks. This doesn't make my work disappear, but it does recognise
the possibility of other ways of listening to it. So what is lost in the
shared construction of an event, is at least partially compensated for
in a recording by relinquishment of absolute authorial control over the
material.
I would say that a performance asks - at the listening level, I do not
speak of functional musics here - for an initial atmosphere of
hospitality, even formality. This is a human relationship, artists are
presenting their work and in general it should be received with
courtesy. But there is no a human relationship to be had with a record,
it is always a meeting between a person and a thing. The artist is not
present to be insulted, no matter how the listener behaves. And, the
only listener the artist ever related to when the record was being put
together was him- or her-self . So, how to approach a record? I would
still counsel hospitality, but the fact is that the record belongs to
the listener and that is the essence of the relationship. The artist has
made an object - a commodity in fact - and he or she must be prepared
for it to be treated as such.
Playing a record creates no new material, it merely enables an
interpretation or a reinterpretation - or at the very least an
experience - of a thing that already exists. In this respect listening
to a record is like reading a book or looking at a painting, it is a
communication conditioned by absence. A performance on the other hand
always embodies some creation and is always conditioned by the
advantages and disadvantages of presence. Both media share the
dislocations of interpretation - that is a basic constant of all
communication - but while at a concert interpretation, for the listener
at least, can only ever be experiential, when applied to a recording it
may just as easily be practical - for instance shuffling tracks,
equalising the sound or adjusting the volume, and these are only the
easy and commonplace options.The next step is the one John Oswald took
in his Plunderphonic work - where he uses other people's already
finished recordings as the raw material for his own manipulations and
re-composing. Although his extensive electronic and mechanical
manipulations extend a light-year beyond the small adjustments of tone,
volume and track order that most listeners apply, his work nonetheless
remains on a continuum with such adjustments. They can all be thought of
as variant ways of hearing. By releasing the product of his own
re-workings on a record, John is both sharing his way of listening with
us and encouraging us to listen - which in this instance means to
process and change his or any other recordings - in a similarly active
way. Because it is possible. I think it is not the original performance
that such manipulations extend, but the act of listening.