Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...by Germans for the most banal of record-keeping, the seventeen Variations are unassumingly sandwiched between Duo (1961), for voice and string instrument, and Paper Piece (1960), for an unspecified number of performers playing (with) paper. The humble presentation of this...
Chapter 00
Chapter 0: The Ground
...A Personal Beginning In 2007, violist Mary Oliver and contrabassist Rozemarie Heggen invited me to write a piece for their duo incorporating improvisation. Despite my diverse experience writing chamber music, free improvising, interpreting, and working in a host of...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...power) need not be followed to their bitter end, that creative community-building strategies may be substituted in place of a (partially) determining text. (Nicholls 2012, 114) Yet music by a number of improvisers who use notation does in fact privilege...
Chapter 02
A Treatise Remix Handbook
...realizations of p. 1 – Cardew directing the American premiere, QuaX Ensemble, and Art Lange – last respectively 4:30, 3:30, and 2:00. The number 34 at the beginning of p. 1, interpreted in all three versions as sustained chords, lasts...
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 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...A Score can become a notch cut or line, an account kept, number of points made, set of twenty, a topic, piece of good fortune, worst in repartee, and much more. And not to forget a Partitura from the...
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
...do not by any means exhaustively represent the field of notation for improvisers. Nor do they represent, as I explain in Chapter 0 (“Objectives and Criteria”), the potentially infinite number of subcategories imaginable within the field. Rather, I believe they...
Chapter 01
Seeing the Full Sounding
...sing a resonance of lush green. (Goldstein, as quoted in Arms 2012, 39). This poetic cluster, in which the materiality of sound, movement, and subjectivity intersect, leads me to a number of questions. How does Goldstein’s notation articulate the terms...