Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...lies “outside” the score, and requires a more flexible view for the performer to find a coherent way forward. I start with Patterson’s instructions on p. 1: pitches, dynamics, durations and number of sounds to be produced in any one...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...bound and contain. I will reflect on what these notions tell us about the potential for the medium of notation at a time in which the practice of writing music is, as Ostertag’s project shows, increasingly obsolete. 1. Cutting and...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...Notation is an invitation to collaborate. 1 In the planning of communities a score visible to all the people allows each one of us to respond, to find our own input, to influence before decisions are made. Scoring makes...
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
...is time. As one can see in Treatise Handbook, the number of pages selected for any given performance, the durations of individual pages, and the duration of events assigned to particular symbols within each page are staggeringly diverse. Unlike the...
Chapter 00
Chapter 0: The Ground
...same piece to begin with. Research Questions Despite these nominal failures, the exercise of writing Apples produced a number of new, more nuanced questions from which creative possibilities, collaborations, and extended reflections have emerged ever since: What aspects of improvising...
Chapter Ω
Chapter Ω
...at some point. At the same time, embedded within this dissertation is a temporality – or rather multiple temporalities – of inscription. The writing has taken around four years to complete. Fits and starts of in-time improvisation occasionally bubble up...
Chapter 01
Seeing the Full Sounding
...by my physical potentials and visa versa, but as soon as I try to define these separately I run into problems. 1 Language struggles with depicting physical action, and nowhere is this struggle more evident than in language that tells...
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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...