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 00
Chapter 0: The Ground
...improvisation is primary, and anything demonstrative or ‘composed’-sounding should generally be avoided” (“General Instructions”). Although no methods for realizing the images as notation are given, the graphic material itself is generous, transparent, and immediate. Art critic Paul M. Laporte has...
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
...2005. fOKT. Unpublished score. ———. 2011. “Construction of CONSTRUCTION.” http://richardbarrettmusic.com/CONSTRUCTIONessay.pdf. ———. 2014. “Notation as Liberation.” TEMPO 68 (268): 61–72. doi:10.1017/S004029821300168X. Barrett, Richard, and Paul Obermayer. 2000. “Response to Questions from Nic Collins for Noisy.org.” http://furtlogic.com/node/7. ———. 2009. “fORCH.” http://furtlogic.com/nodeorder/term/14. Bartlett,...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...A Score can become a notch cut or line, an account kept, number of points made, set of twenty, a topic, piece of good fortune, worst in repartee, and much more. And not to forget a Partitura from the...
Chapter 02
A Treatise Remix Handbook
...realizations of p. 1 – Cardew directing the American premiere, QuaX Ensemble, and Art Lange – last respectively 4:30, 3:30, and 2:00. The number 34 at the beginning of p. 1, interpreted in all three versions as sustained chords, lasts...
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...
Chapter Ω
Chapter Ω
...do not by any means exhaustively represent the field of notation for improvisers. Nor do they represent, as I explain in Chapter 0 (“Objectives and Criteria”), the potentially infinite number of subcategories imaginable within the field. Rather, I believe they...