...my emphasis on how improvisers use notation – both as composers and performers – rather than on the internal structure of the documents themselves, I naturally draw on the work of a number of artists and improvisation scholars who do...

...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...

...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...

...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...

...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...

...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...

...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...

...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...