à Michel Marang
Aphasia
失语 单簧管与电子音乐 For Clarinet and Prepared Tape
毛竹 Mao Zhu (2013)
失语——单簧管与电子音乐 失语症，是指人类由于大脑特定区域受损而引起的语言 丧失，或语言表达障碍的症状。 我们总是试图用自己的声音与这个外在世界建立联系， 用这样的方式证明自我的存在。然而，从发出声音的那一刻 开始，我们的身体就不可避免地成为捆绑心灵的一把枷锁。 语言自身拥有的强大魔力有时不免让人怀疑，究竟是我们在 使用语言，还是语言在操控我们。当我开始追问这个似是而 非的悖论时，似乎已经进入了“失语”空间……正如佛经中 所言： “不可说，不可说，一说即是错。 ”
Aphasia
For Clarinet and Prepared Tape
This work was commissioned by Michel Marang who is Amsterdam based clarinetist and photographer. Aphasia, from ancient Greek aphatos meaning ‘speechlessness’, is an acquired disorder caused by damage to the parts of the brain that contain language. People with aphasia may experience difficulty communicating with and expressing themselves to the world around them. We always use our voice to make connections with the outside world and to try to prove the existence of self. From the moment we start talking, the bodies has inevitably becomes the shackles of the mind. Language is endowed with a kind of magic power. I began to wonder if the language we create in fact turns on us, controls us. When I persisted in exploring this paradox, it seemed as thought I was brought into a state of ‘aphasia’. As the Buddhist saying goes, what we cannot talk about we must pass over in silence.
Performance Instructions Prepare two microphones for performance. One is placed on the side of clarinet bell, another microphone should be put in front of player’s mouth in order to player’s voice will be hear clearly. According the volume change of music, player can adjust the distance between the microphone and clarinet bell. There is a second time-gap at the beginning. According to time sequence, this work can be divided into six phases.
A ○ B ○ C ○ D ○ E ○ F ○
0’00’’—1’35’’ 1’35’’—2’43’’ 2’43’’—4’30’’ 4’30’’—5’58’’ 5’58’’—6’40’’ 6’40’’—7’34’’
Aphasia for Clarinet and Prepared Tape
Transposed Score
A
Mao Zhu
Senza Misura ca.10''
ca.10''
Prepared tape
&
Clarinet in B b
ca. 4''
f
p
ca. 8''
&
ca. 4''
&
w ¹
>j
â
Ï
F
w
p
w ¹
#w
p
w
F ca. 2''
Ä
Ä
ca. 6''
ca. 2''
ca.12''
&
>
#â
F
ca. 2''
Ï
¹
ca. 6''
#â
#w P
#â
#w
Ä
ca. 2''
#â
ca. 8''
w
¹
2 ca.15''
&
#â
#â #Ï ú F P
ú p
ca. 2''
aÏ ú f F
p
B ca. 8''
Ù~~~~~~~~~~~~~~~~~~ Ê(+)
produce the breath tone as fast as possible at specific range.
finger trill on any keys.
Ä
&
ÊÊÊ Ê Ê Ê ÊÊ F
Ê Ê ÊÊ Ê Ê ÊÊ
f
P
>Ê , Ä
ca.10'' repeat these pitches as fast as possible several times until another gesture.
& ..
ÏÏ ¹
Ï bÏ nÏ #Ï Ï Ï Ï bÏ Ï
Ï
..
Ï F
#Ï Ï Ï Ï # Ï Ï #Ï > Ï Ï bÏ nÏ f
ca. 8''
,
ÏÏ Ï Ï Ï Ï Ï #Ï nÏ & Ï #Ï#ÏnÏ Ï Ï Ï # Ï Ï ú #Ï Ï Ï Ï > p f
ú
#Ï Ï Ï # Ï Ï # Ï bÏ nÏ p
3 ca. 4''
Ï #Ï #Ï Ï Ï Ï nÏ Ï Ï . Ï . Ï . & .Ï F
ca. 2''
ca. 5''
Ï bÏ Ï Ï Ï Ï Ï Ï #Ï nÏ bÏ Ï Ï w b Ï Ï Ï Ï Ï # Ï Ï # Ï Ï & ÏÏ Ä
ca. 3''
ca. 6''
&
w f ca.12''
p
4 ca. 8''
&
ca. 2''
#â
#w ¹
Ï
a>â
Ï
Ï
f
C ca. 6''
Prepared tape
&
&
#Ï
&
w
& 32
&
Ï
Ï
>
> Ï Ï Ï Ï Ï Ï
#Ï Ï #Ï Ï #Ï Ï Ï
#Ï
Ï
7 4
p ca. 7''
Ï
Ï
qÈca. ¤¼
w î
Ï
#Ï
F
7 &4 j Ï Ï P
29
ca.10''
Ï Ï. J
·
Ï
j Ï Ï î #Ï #Ï
á
Kú F
c
Ï Ï
j Ï Ï3 Ï Ï Ï . Ï Ï Ï Ï î 3
á
ú
Î
c
Ï Ï #Ï î
â. Ï.
·
á
Kú F
Ï #Ï ÏÏ Ï ä ÏJ .
Lâ á Ï ú J
3
î
á
ä
â . Kâ á Ï. Ï ú J p
ú ÏÏ >
á p
Ï
j Ï
Ï Ï #Ï. Ï #Ï Ï Ï Ï Ï Ï Ï bÏ 3
î
5
> Ï Ï b Ï . Ï Ï Ï Ï Ï Ï Ï Ï b Ï Ï ÏÏ Ï Ï Ï b ÏÏ Ï Ï b Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï & Ï Ï Ï .. Ï Ï Ï ú î #ú. J Ï. 3 > 3
& Î
36
ÏÏÏú
bú. > ê
Ï Ï Ï Ï Ï Ï Ï b Ï .. & ÏJ Ï.
#ú
&
& 45
#Ï r Ï >
echo
& Ï.
&
Ï.
j Ï
Ï #Ï Ï R >
·
ÏÏ Ï b Ï Ï b b ÏÏ
Î
Ï.
c
j # Ï # Ïj Ï .
Ï. j #Ï >
c Ï
Î
Ï. j Ï >
î
ú.
#ú ¹
ÏÏ
bÏ
Ï bÏ
bú p
Ï Ï #Ï Ï
Ï
> > Ï ÏÏ 3
bÏ
j #Ï Ï
Ï. >
5 & 4 #ú P
44
>r > bÏ j Ï
·
39
Ï Ï #Ï Ï nÏ.
P
F
7
41
ä b Ïj
echo
3
Î bÏ Ï Ï
5 4
Î
5 4
j Ï Ï
Ï Ï Ï 3
·
bÏ
úú
Î
ú.
ww P
bÏ
6
Ï Ï b Ï. & Ï ÏÏ Ï Ï Ï
& úú
Î
47
D 51
qÈca. Áª¼
&
Ï.
f
# Ï.
Ï
Ï
ä î
·
Î
´ Ï
P
·
´
â Î #Ï Ï Ï Ï Ï Ï Ï J J
ú.
#ú.
·
5
Ï. F
Ï Ï bÏ Ï . # Ï« Ï « . Ïä #Ï . 5 Ï Ï Î ä jÎ ä J & Ï bÏ 3 Ï bÏ nÏ #Ï F 5 p Ø P
57
&
b >Ï J ä Î f
3
Ï Ï Ï bÏ ÏÏÏ p
. b Ï. Ï . Ï ä ä J F
î
3
b Ï nÏ #Ï Ï Ï Ï b Ï Ï Ï Ï
54
ú
·
ä
>Ï
bÏ. Ï b Ï . Ï # Ï Ï ä ÏJ P f
bÏ
P
Ï. ú
>Ï J ä f
7
Ï Ï bÏ Ï # Ï« Ï« Ï« ùÏ ä J « #Ï Ï Ï Ï nÏ Ï Ï # Ï Ï Ï Ï Ï ä #Ï ä ä J 5 3 F f
Ï. b Ï. . # Ï. 60 Ï J J Î &ä ä P
63
&
66
&
#Ï #Ï nÏ 3
#Ï
Ï
ä
ää
Ï Ï bÏ Ï
>Ï Ï . ú ê
>Ï
äÏ
Ï
« b Ï« ä bÏ ä F
w
F
Ï
Ï.
Î
p
#Ï Ï Ï ÏnÏ Ï Ï « Ï # Ï Ï Ï ä #Ï ä Ï
#w
Ï #Ï
F
6
5
jä Ï p
# ùÏ
. . Ï. # Ï. . Ï. Ï ä b Ï Ï. Ï. Ï 3
F
Å
# ùÏ # Ï. Ï. Ï. Ï. Ï. . Ï. Ï. Ï. Ï. # ùÏ . Ï. # Ï. . ùÏ Ï. Ï. Ï. Ï. Ï. # Ï. . Ï. # ùÏ Ï. Ï. Ï. Ï. ùÏ Ï. 69 Ï. Ï. b Ï Ï. Ï. b Ï Ï. Ï. Ï Ï. Ï. b Ï Ï. Ï. Å & 3
3
. Ï. Ï. Ï. Ï. Ï. Ï. Ï. # ùÏ # Ï 72 Ï. b Ï. Ï. Jä & À 3 player's voice
nus
3
3
. . b Ï. Ï. Ï Ï. Ï. # Ï J ä À 3
prison
ù Ï. # Ï b Ï. . # Ï. Ï
3
ä ä Àj
those
8
ù Ï. # Ï &ä J J ä À
# Ï. . bÏ
75
Ï. Jä
joy
& ä Àj À
79
Ï. b Ï. JäJä
ik begreep
83
&À
whats
89
&
niets
Ï. # Ï. . Ï 3
isfent
use
Ï #Ï Ï Ï Ï Ï Ï
À
begrijp
3
# Ï.
ä
Î
ä
À
# Ï. . bÏ
Î
3
used
À
whats
Ï. Jä
# ùÏ . . bÏ ä Ï
À
begrijp
ù Ï. # Ï . Ï. b Ï Ï Ï. Î ä J J ä Ï Ï. Ï 3
. Ï. # ùÏ Ï. # Ï Ï. b Ï. Ï.
À
kleep
À
boete
. # Ï. Ï. Ï. Ï. . # Ï Ï Ï #Ï #Ï Ï Ï Ï . Ï Ï #Ï Ï Ï J 6
wil
. Ï. Ï. Ï. # ùÏ # Ï Ï. Ï. Ï.
À
3
# Ï. b Ï b Ï Ï . Ï bÏ
À
Î
. . .Ï # Ï b Ï. n Ï # Ï Ï Ï Ï # Ï #Ï ä Å Jä
. . # ùÏ .Ï # Ï Ï. Ï Ï. J ä J ä
& Ï Ï. Ï
86
À
À
ù Ï. # Ï
3
3
3
ù Ï. Ï. Ï. Ï. Ï. # Ï. b Ï. Ï. Ï. Ï. Ï. Ï. # Ï Ï. Ï. Ï. Ï. Ï. Ï. 3
3
3
3
9
. # Ï. # Ï. . Ï 91 bÏ Ï bÏ. J ä J & P E
# Ï« # Ï« Ï. J J f F
Ï.
w
Ï
p
Ï
Î î
Senza Misura ca. 3''
ca. 8''
player's voice
Shouting louder than anybody else in the room each was in the galling position of being unable tom prove beyond doubt that he was right annoyed.
ca. 8''
ca. 5''
En die gaan, net als alle andere folteringen, gepaard met wellust. ca. 8''
ca. 4''
Ik wil de kruisiging dat ze mij niet van henzelf onderscheiden.
F ca. 6''
&
qÈca. ¤¼
c bÏ P
« Ï . Ï Ï Ï>
n Ï. Ï
f p
bÏ. b Ï . F
b Ï« Ï« b ú f P
10
« > b Ï b Ï Ï Ï b Ï b Ï b Ï b Ï Ï Ï Ï Ï Ï Ï Ï j Ï Ï . >Ï Ïj . Ï. . b Ï b Ï Ï Ï Ï >Ï Ï #Ï Ï ä bÏ Ï bÏ & äbÏ. 3 p P f p f F
104
&
Ï. Ï. b Ï Ï Ï Ï Ï Ï Ï b Ï b Ï Ï >Ï ä &Ï 3 3 P f
j #Ï
Ï Ï Ï
Ï
3
â ââ â â â â â â â â â â â â â â â â â &ä Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï P 6 6
109
& 111
&
Ï Ï #Ï Ï ú
Ï
j bÏ
b Ï. Ï. b Ï Ï Ï 3
F
#ú P
Ï
w
#Ï
Ï. >
bú.
Ï
w
j Ï
Ï.
« « bÏ bÏ j f
Î
bÏ
U
bú.
bw
。
#Ï
ú
F
j Ï
Ï. j Ï >
ä
bÏ Ï Ï. bÏ Ï bÏ Ï Ï nÏ
107
& ú
Î
·