...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...

...as arrows and stop signs on the one hand, and softer colors, reflective text (sometimes hidden within images such as “In” and “Tender”), and counterintuitive angles and proportions on the other, are all meant to appeal to the improviser’s sharp,...

...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...

...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...

...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...

...pianist and composer Frederic Rzewksi calls them, one can observe that Tactile Paths is an entextualization of continuous activity, and not only an assembly of modular parts. Hidden within that ongoing activity is a minor narrative. The research process began...

...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...