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
...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...
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...
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 Ω
Chapter Ω
...to the surface of the website, particularly in creative work such as Seeing the Full Sounding, A Treatise Remix, and my performances of Ben Patterson’s Variations for Double-Bass. If one looks and listens closely to these little bangs (1999), as...
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...
References
...as Fiction: A Consideration of the Work of Richard Barrett.” Contemporary Music Review 13 (1): 147–57. doi:10.1080/07494469500640331. Friedman, Ken. 2016. “A Game without Rules.” Performance Research 21 (4): 9–19. Gallagher, Shaun. 2005. How the Body Shapes the Mind. Cambridge Univ...
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...
About
...rather tactile paths in the improviser’s ever-crescent musical and social environment. This practice-based approach aims to lay the conceptual groundwork for theorizing and broadening the creative relevance of work whose importance to practitioners belies its marginal presence in academia and...