The form and structure of many of Darboven's works have musical connotations, and her numbers have at times been translated into musical notes, including scores that have been performed [and recorded]. Two monumental related works, 24 Songs, A Form, and 24 Songs, B Form (both 1974), constitute a major early project in which Darboven's numerical computations are systematically developed into the notes of the musical scale. Writing about these works, Klauss Honnef described her method:
The artist develops a specific method, by which she translates the numerical constructions of her works into musical notations. The number 2 stands for the note f, 3 for g, 4 for a, etc. All compound numbers are, on the analogy of the numerical construction, expressed in two notes, an interval: accordingly, 11 = e-e, 12 = e-f, 13 = e-g, etc. The numbers containing 0 come out as two broken chords, fundamental chord and four-six chord, and are treated as a unit.

--Ann Goldstein, "Hanne Darboven," in Ann Goldstein and Anne Rorimer, Reconsidering the Object of Art: 1965-1975 (Los Angeles: The Museum of Contemporary Art, 1995): 103.

PHOTO: Hanne Darboven, Urzeit/Uhrzeit (Primitive Time/Clock Time), 1988 (detail).

For introductions to the major principles of Hanne Darboven's work, please click on the days of the week (e.g. M, T, W). For additional information, click on another date of the month.

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