Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...power) need not be followed to their bitter end, that creative community-building strategies may be substituted in place of a (partially) determining text. (Nicholls 2012, 114) Yet music by a number of improvisers who use notation does in fact privilege...
Chapter 00
Chapter 0: The Ground
...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...
Chapter 02
A Treatise Remix Handbook
...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...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...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...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...The present chapter aims to articulate the dynamics of this intertwining – the process of inscription. It centers on the following question: how do composer-improvisers use notation to share, challenge, or transform their own ways of improvising? By tracing my...
Chapter Ω
Chapter Ω
...explicitly with practical investigation, and the arguments of early chapters (“Seeing the Full Sounding”; “A Treatise Remix Handbook”) foreground creative media. “Entextualization and Preparation…”, written next, takes personal artistic experience as an object, but does not use it as a...
Acknowledgements
...and the website design; to my academic adviser Marcel Cobussen for The Field of Musical Improvisation and knowing when to use honey and when vinegar; and to my artistic adviser Richard Barrett for his never-ending supply of “what if?” questions...
References
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...
Chapter 01
Seeing the Full Sounding
...David, and his teacher Madame Benshaw for an elaborate French chicken dish called “Poularde à la d’Albufera”. According to Sennett, each of these recipes provides a successful alternative to the traps of “dead denotation”, or the debilitating use of commands...