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
...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...
Chapter 02
A Treatise Remix Handbook
...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,...
Chapter 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...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...
References
...of Musical Dialogue: A Phenomenology of Music. Cambridge: Cambridge University Press. Boretz, Benjamin. 1981. “If I Am a Musical Thinker.” Perspectives of New Music 20 (1/2): 465–517. doi:10.2307/942424. Borgo, David. n.d. “Entangled: The Complex Dynamics of Improvisation.” https://www.academia.edu/22893440/Entangled_The_Complex_Dynamics_of_Improvisation. ———. 2007....
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...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...
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...