"I don't think Turnage is concerned with any of that"
Which is to say: the motors for this piece, what drives it forward and give it extension in time (and thus justify its existence) derive either from the Beyoncé original, or from some off the peg structural devices (such as a basic A-B-A form in which the original material goes away in the middle then returns at the end). A more critical piece would have as its motor some sort of development of those processes of compromise etc - an extension of the cracks between the original and the transcription, say. The artefacts of a compromised translation would become the musical material, overtaking the transcribed original itself - or at least entering into some sort of dialogue with it.
That's all a bit prescriptive maybe, but it's a vision of an alternative approach.
no subject
Which is to say: the motors for this piece, what drives it forward and give it extension in time (and thus justify its existence) derive either from the Beyoncé original, or from some off the peg structural devices (such as a basic A-B-A form in which the original material goes away in the middle then returns at the end). A more critical piece would have as its motor some sort of development of those processes of compromise etc - an extension of the cracks between the original and the transcription, say. The artefacts of a compromised translation would become the musical material, overtaking the transcribed original itself - or at least entering into some sort of dialogue with it.
That's all a bit prescriptive maybe, but it's a vision of an alternative approach.