A Beautiful Score

Smalley, Roger; Cardew, Cornelius; Bedford, David; Lutosławski, Witold; Wittinger, Robert

doi:10.2307/952408

The Musical Times

1968

DOI: 10.2307/952408

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A Beautiful Score

Roger Smalley¹,

Cornelius Cardew²,

David Bedford³

et al.

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2020

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Treatiseand theTractatus

Cline¹

2020

J. R. Music. Assoc.

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Cornelius Cardew named his monumental graphic score Treatise after Ludwig Wittgenstein’s early philosophical masterpiece Tractatus logico-philosophicus, and this well-known fact has engendered speculation about whether there might be other connections between Cardew’s composition and Wittgenstein’s book. Previous commentaries have focused on possible allusions to the Tractatus in the visual imagery employed by Cardew, and this article includes further suggestions of this type. However, it concentrates on more general affinities between Treatise, as Cardew conceived of it prior to his involvement with the free improvisation group AMM, and the philosophy adumbrated in the Tractatus. Foremost among these is a striking concordance between Cardew’s initial enthusiasm for an isomorphic mode of interpreting Treatise and Wittgenstein’s picture theory of the proposition. The article also excavates traces of the picture theory in the numerological basis of Volo solo, a more conventionally notated by-product of the Treatise project.

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Treatiseand theTractatus

Cline¹

2020

J. R. Music. Assoc.

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A Beautiful Score

Cited by 1 publication

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Treatiseand theTractatus

Treatiseand theTractatus

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