Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...and social change (Fischlin and Heble 2004; Lewis 2008; Prévost 2009; Born 2017). Notation need not be a part of these models of collectivity per se. As anthropologist and former musician Georgina Born has argued, there is perhaps something singular...
References
...Andrew W. 1995. “Cecil Taylor, Identity Energy, and the Avant-Garde African American Body.” Perspectives of New Music 33 (1/2): 274–93. Beins, Burkhard. 2011. “Scheme and Event.” In Echtzeitmusik Berlin: Selbstbestimmung Einer Szene | Self-Defining a Scene, edited by Burkhard Beins,...
Chapter 00
Chapter 0: The Ground
...things they can change” (2008, 120). Following his proposal, Tactile Paths features music for people who use notation to change the way they play; scores give tacit, embodied performance practices plasticity, in order that composers and performers can transform them....
Chapter 02
A Treatise Remix Handbook
...bottom of every page) enter and exit sections of the piece capriciously. Their visual-semiotic meanings change frequently, as for example when a circle acts as a geometric motif on one page, and becomes a musical note on the next. Sooner...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...of which can be seen to the lower left of the variation; possibly fixed pitches were eliminated because the melody should be played with the clothespin preparations specified in the first half of the variation, which change the pitch of...
About
...North American and European experimental music circuits, this work has been presented by VPRO Radio 6 (Holland), Deutschlandradio Kultur, the Museum of Contemporary Art Barcelona, and the American Documentary Film Festival. Williams’ artistic research on improvisation, notation, and his body-mind...
Chapter Ω
Chapter Ω
...differently and thus change in the context of actual practice. In Tactile Paths I have shown several examples of composers who have (already) done so. One way in which improvisers’ unique and embodied performance practices can be incorporated into the...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...have appealed to Dresser and Minton, as well as drummer Gerry Hemingway, who accepted Ostertag’s invitation to take Baron’s place. This change in personnel brought a new dimension, a new challenge to the project. It added complexity to the task...