The Mimetic Script

Scoring the Self

Stage 2: Generative Transcription

The poet of vagueness can only be the poet of exactitude, who is able to grasp the subtlest sensations with eyes and ears and quick, unerring hands. (Calvino, 1996, p.60)

In order to try to recreate the experiential nuances of the trance-like improvised performance, the next stage of musical interpretation and scoring needed to be able to be grasped and written in a way that a certain mastery of exactitude could be attained over the material. In striving towards mimesis of the original spontaneous experience, I wanted to find a means to articulate the material which might also allow the interpreters to perform with a certain amount of freedom, drawing from their own intuition. I decided at the outset that I wanted less a complex prescriptive score than something more descriptive, in which intricate gestural qualities could be expressed. Calvino’s (1996) description of a poetry of vagueness as a poetry of exactitude in his description of his overarching theme exactitude, portrays a duality which I felt strongly at the outset of considering how to draw a mimetic script from the Canto Morph Reverie.  Calvino describes: “Starting out from the original meaning of ‘wandering,’ the word vago[vague] still carries an idea of movement and mutability, which in Italian is associated both with uncertainty and indefiniteness and with gracefulness and pleasure.” (Calvino, 1996, p.57)