False Hypotheses
1997
recorder solo
23 min
False Hypotheses
The title is taken from an interview with Umberto Eco that appeared in the Dutch Weekly Vrij Nederland. In the interview Eco explains that while still a student his professor was not always happy with his (Eco's) progress. He complained that Eco always included the 'false' hypotheses, i.e. those that proved to be incorrect, in his research along with the 'good' ones. His professor explained that while such 'false' hypotheses might be necessary when beginning an investigation, they should, having been found to be incorrect, discarded. They might be thought of as ladders that enable one to reach a new or different plateau. Once this new level has been reached the ladder should be discarded. Eco replied that he felt exactly the opposite to be the case: The false hypotheses are just as important as the good ones. Despite their having being proven to be incorrect, they nevertheless play an important part in shaping the direction of a research and should therefore have a place in the story of that research.
In False Hypotheses small compositional structures are used as a kind of device with which to present sounds - in this case those of the alto recorder. The form of the piece tells of my 'research' into the material that opens the composition and tells the story of what came to light as part of this investigation. The 'false hypotheses', i.e. those sections in which it was not clear to me as the composer which notes should come next, are included alongside the more established material that those investigations led to. Rather than remaining in the desk-drawer they are all included in the story that is the form of the piece.
1997
recorder solo
23 min
False Hypotheses
The title is taken from an interview with Umberto Eco that appeared in the Dutch Weekly Vrij Nederland. In the interview Eco explains that while still a student his professor was not always happy with his (Eco's) progress. He complained that Eco always included the 'false' hypotheses, i.e. those that proved to be incorrect, in his research along with the 'good' ones. His professor explained that while such 'false' hypotheses might be necessary when beginning an investigation, they should, having been found to be incorrect, discarded. They might be thought of as ladders that enable one to reach a new or different plateau. Once this new level has been reached the ladder should be discarded. Eco replied that he felt exactly the opposite to be the case: The false hypotheses are just as important as the good ones. Despite their having being proven to be incorrect, they nevertheless play an important part in shaping the direction of a research and should therefore have a place in the story of that research.
In False Hypotheses small compositional structures are used as a kind of device with which to present sounds - in this case those of the alto recorder. The form of the piece tells of my 'research' into the material that opens the composition and tells the story of what came to light as part of this investigation. The 'false hypotheses', i.e. those sections in which it was not clear to me as the composer which notes should come next, are included alongside the more established material that those investigations led to. Rather than remaining in the desk-drawer they are all included in the story that is the form of the piece.