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
...itself, is that quality of notation that arouses performers’ “material consciousness”, a term coined by sociologist Richard Sennett in his book The Craftsman (2008). Sennett offers “a simple proposal about this engaged material consciousness: people [craftsmen, CW] are interested in...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...Notation is an invitation to collaborate. 1 In the planning of communities a score visible to all the people allows each one of us to respond, to find our own input, to influence before decisions are made. Scoring makes...
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 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...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...who possess an intimate understanding of its parameters of expression, its interactive possibilities, and the stakes involved in the commitment to process. 1 (Iyer 2004) How, why, and what these artists notate can vary substantially. Some transmit aspects of their...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...Latin Pars indicating both partial, direction and task. It sounds like music but really isn’t. 1 I imagine these musicians meeting not to read scores but to improvise from available scores, as was common in the Renaissance. A recording of...
Chapter 01
Seeing the Full Sounding
...by my physical potentials and visa versa, but as soon as I try to define these separately I run into problems. 1 Language struggles with depicting physical action, and nowhere is this struggle more evident than in language that tells...