References
...and Cultural Improvisation, edited by Elizabeth Hallam and Tim Ingold, 25–41. Oxford, New York: Berg. Barrett, Richard. 1999. Transmission. Suffolk: United Music Publishers. ———. 2002a. Blattwerk. Suffolk: United Music Publishers. ———. 2002b. “Blattwerk: Composition / Improvisation / Collaboration.” http://richardbarrettmusic.com/BlattwerkEssay.html. ———....
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...of musical labor, they challenge the way we usually conceptualize and talk about them. In one way notation for improvisers encourages us to find new terminology that reflects contemporary practice. Perhaps for this reason, composer-improvisers such as Anthony Braxton (1985;...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...of Serenade II Janice Wentworth (Halprin 1969, 14-15), a series of graphic scores for indeterminate performer (musical or otherwise) by composer Charles Amirkhanian, is only slightly less problematic. “The scores indicate,” according to Halprin, “how the new music has influenced...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...document, for example, is a direct consequence of working with pen and paper. Had he edited Variation X with Word, new markings such as “Parrot on string” would have simply replaced previous ones; “perform pianissimo, medium and short tones arco...
Chapter 00
Chapter 0: The Ground
...in something qualitatively different from the sum of its parts, like the volcano is from its ingredients — a new and surprising (and therefore unpredictable) musical “substance”. What I got, however, was rather smoother. The performers’ unusually broad backgrounds in...
Chapter 02
A Treatise Remix Handbook
...It did not resolve the question above once and for all: I cracked no hidden code in the score, nor did I discover any magical thread uniting Treatise‘s performance history. Indeed making A Treatise Remix revealed far more about my...
Chapter Ω
Chapter Ω
...lived since 2009, a division between the worlds of contemporary through-composed new music and (free) improvised music persists in festivals, education, funding structures, and GEMA (the national authors’ rights organization). This division hangs in large part on the positioning of...
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Chapter 01
Seeing the Full Sounding
...my violin playing… an overflowing of myself in space. Sound as a physical reality, touching upon the ears of the body; (“upon the string, within the bow… breathing”)… reverberations within the skull become a changing landscape – a new music…...
Acknowledgements
THANK YOU Supervising Team for their patience, chemistry, and (apparent!) personal investment in the subject matter. Thanks in particular to my committee chair Frans de Ruiter for pointing to the big picture and generously supporting conference trips, dissertation-related...