...free the creative process by making the process visible” (1969, 3). In my following exposition of the RSVP cycle, I will concentrate on those aspects of the model that bear out Halprin’s claim, with an eye on its applicability to...

...musicians using any media are free to participate in a “reading” of this score (it is written from left to right and “treats” of its graphic subject matter in exhaustive “arguments”). Each is free to interpret it in his own...

...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...

...and White File to order and often gave them away for free, up until his scores were published together in an anthology edited by Benedikt Stegmayer (2012). In my opinion Patterson’s direct, unfussy approach to writing, publishing, and distributing his...

...appear fixed and finished, such as articulation and ornamentation; and dyed-in-the-wool free improvisers might warm up to the potential of scores for diverse reasons, such as minimizing clichés in their own music. With this objective in mind, I dedicate the...

...takeaway has been a renewed emphasis on the continuity and value-neutrality of notation and improvisation as parts of a larger creative landscape. In other words, I feel as free as ever to notate and improvise, together or separately, or not,...

Andersen, Eric. 2012. “In Mezzo a Quattro Tempi.” In Word Events: Perspectives on Verbal Notation, edited by John Lely and James Saunders, 79–82. London: Continuum. Anderson, Michael L. 2003. “Embodied Cognition: A Field Guide.” Artificial Intelligence 149...