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 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 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...An extraordinarily compressed verbal inscription, like “Exit” or “Draw a straight line” provides a kind of structure that other artists could use to produce diverse interpretations or realizations – thereby creating new pieces, and effectively blurring the boundary between “composer”...
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 02
A Treatise Remix Handbook
...recently seen. To move forward is to concoct new patterns of thought, which in turn dictate the design of the models and experiments. (Prévost 2011) While his use of the words “too much” and “parts” raise more questions than they...
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...
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...
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