Chapter 00
Chapter 0: The Ground
...extended Western notation (henceforth “conventional notation”) in through-composed sections is somewhat more obscure. The material consists mostly of noisy, carefully choreographed “extended” techniques in constant movement. To articulate them every marking is essential, and therefore exhaustively explained in the legend....
References
...Interaction. Chicago: University of Chicago Press. Moore, Robin. 1992. “The Decline of Improvisation in Western Art Music: An Interpretation of Change.” International Review of the Aesthetics and Sociology of Music 23 (1): 61–84. Moseley, Roger. 2013. “Entextualization and the Improvised...
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 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...the subjective, embodied performer and acts of performance over objective, reified scores – has been increasingly culled from the Western music tradition (Bailey; Nettle and Russell). (McMullen 2010) Given only textual and performative perspectives, the study of notation for improvisers,...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...be at the ORF had given the studio time to somebody else. So then we had to take a train to Innsbruck [a small city in western Austria, CW] to have a place to rehearse. We got to Innsbruck, and...