Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...and “interpreter” far more decisively than, for example, musical scores which simply allow performers to select among or re-arrange existing sections. In perhaps the best-known instance of this “re-authoring,” Nam June Paik made an unorthodox realization of Young’s Composition #10...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...or ‘non-idiomatic improvisation’ (to use Derek Bailey’s formulation), as a method of musical creation in which the framework itself is brought into being at the time of performance, rather than existing in advance of it. […] The possibility of improvising...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...possible. We use it to observe or “note” things that happen. We build, or improvise, on existing knowledge by “annotating” texts. Notation: The methods of writing down music so that it can be performed. (Rutherford-Johnson et al 2012a) Scores on...
Chapter Ω
Chapter Ω
...performer, beyond improvisation in concert performance. Notation constructs, reconstructs, and deconstructs improvisers’ relationships to each other by plugging into their own tacit microsocialities (Born 2017, 52), or social relations during performance. It can challenge and enrich existing collective performance practices...