Straitjacket

April 7th, 2010 | Filed under Abstracts

Straitjacket
When asked for a new work to be commissioned by the Banff Centre for the Roots and Rhizomes Percussion Residency, Mark Applebaum thought about putting ontological pressure on the boundary conditions of the medium itself. He considered the idea of paradoxically expanding the seemingly comprehensive domain of musical experience through focused constraints, and he gravitated, perhaps habitually, toward a kind of super-disciplined absurdity—as if invoking a parallel world whose eccentric culture is governed by elaborate rules perceived but not understood.  In short, he managed to compose Straitjacket, a provisional answer of sorts. Straitjacket, privately subtitled “four restraint systems for solo percussion and percussion quartet,” intersects conceptually with formal techniques employed by the French literary group Oulipo: the palindrome, the isopangram, the lipogram, and the taquinoid.

Straitjacket

When asked for a new work to be commissioned by the Banff Centre for the Roots and Rhizomes Percussion Residency, Mark Applebaum thought about putting ontological pressure on the boundary conditions of the medium itself. He considered the idea of paradoxically expanding the seemingly comprehensive domain of musical experience through focused constraints, and he gravitated, perhaps habitually, toward a kind of super-disciplined absurdity—as if invoking a parallel world whose eccentric culture is governed by elaborate rules perceived but not understood.  In short, he managed to compose Straitjacket, a provisional answer of sorts. Straitjacket, privately subtitled “four restraint systems for solo percussion and percussion quartet,” intersects conceptually with formal techniques employed by the French literary group Oulipo: the palindrome, the isopangram, the lipogram, and the taquinoid.

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