...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...

...Latin Pars indicating both partial, direction and task. It sounds like music but really isn’t. 1 I imagine these musicians meeting not to read scores but to improvise from available scores, as was common in the Renaissance. A recording of...

...means offers a systematic survey of notation for improvisers, it does represent a number of rich, interlocking perspectives. Rather than exhaustively covering a better defined corner of the field, I hope to uncover a few critical paths through these perspectives...

...was artistic rather than scientific, and shortly after beginning this intermediate step, I realized my attention would be far more fruitfully directed toward understanding the differences between recordings. These were richer and greater in number, and, as I will explain,...

...I do not agree. I do not feel that any score is too open. I feel that I overlooked several characteristics of scoring, principally: 1. The score was not visible enough to everyone involved. 2. Some of the score was...

...to potential site visitors. It might say something like this: Hi there! I’m a bike messenger by day, aspiring actor by night, and this is my blog. I live in Los Angeles, have a great dog named Jack, and I...

...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...

...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...