Perspectives of Interdisciplinary Comparative Literature- Translated by Lindsay Davidson
Scores of Sound Poetry (Bernard Heidsieck’s Poèmes-partitions Cycle)
I. Score – Sound Text
In the melting pot of terminology of contemporary literary and cultural studies, the term “score” primarily occurs as a metaphor – completely without meaning or explaining literary mechanisms by analogy (as for example in Roland Barthes’ concept of the suitability of musical notation and written word postulated in S/Z301). It is obvious today that at the moment of embracing a written text, the name “score” accentuates the converging aspects of literature and music, especially certain conventionally treated similarities of literary text and musical text read aloud on the one hand, and the musical interpretation on the other302. As far in such situations, however, recognition that parallel literary text merely reminds someone of a musical text (absolutely without raising the issue here of musical notation and correct score writing), there are other situations where the verbal text is a score – not for (and through the efforts of) an interpreter, but in and of itself. The idea of “score” then ceases to have only metaphorical connotations, for example, in relation to the so-called sound poetry, where it becomes, firstly, the name of poetic experimentation, and secondly, the carrier of the artistic postulate.
When it comes to this kind of poetic experimentation within sound poetry, it is worth remembering, in particular, the interesting concept of the cycle of works by Bernard Heidsieck called Poèmes-partitions. The unusual title of the whole ← 91 | 92 → cycle, creating, in the lexical sense, an ambiguous form of neologism,...
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