ABSTRACT

In 1974 the composer Harrison Birtwistle commented to the author: ‘On film you can show someone at the bottom of the stairs and then at the top.’ This article explores the relevance of this statement to the compositional practices of Philip Grange. The focus is on Grange's Cloud Atlas (2009) for symphonic wind band, and how an adaption of the structure of David Mitchell's eponymous novel of 2004 is combined with a large-scale realisation of Birtwistle's statement to create a work employing structural eclipsing and narrative substitution that enables the 26 minutes of Grange's composition to suggest a duration twice as long. It forms the basis of a discussion involving Hertz's intertexturality to address the possible motivation for employing sources from other domains, while Jakobson's intersemiotic transmutation aids understanding of the processes involved. Finally, the desire to reveal non-musical sources is discussed using Eco's concept of ‘resonances and echoes’.

摘要

1974 年，作曲家哈里森·伯特威斯尔对作者评论道：“在电影中，你可以展示一个人在楼梯底部，然后在顶部。” 本文探讨了这一陈述与菲利普·格兰奇作曲实践的相关性。重点是格兰奇的云图集（2009 年）为交响乐队，以及如何将大卫·米切尔 2004 年同名小说的结构改编与对 Birtwistle 声明的大规模实现相结合，创作出一部采用结构日食和叙事替代的作品，使 Grange 的 26 分钟组合物建议持续时间是原来的两倍。它构成了涉及赫兹的互文性的讨论的基础，以解决使用来自其他领域的资源的可能动机，而雅各布森的符号间嬗变有助于理解所涉及的过程。最后，使用 Eco 的“共鸣和回声”概念讨论了揭示非音乐来源的愿望。