...2005. fOKT. Unpublished score. ———. 2011. “Construction of CONSTRUCTION.” http://richardbarrettmusic.com/CONSTRUCTIONessay.pdf. ———. 2014. “Notation as Liberation.” TEMPO 68 (268): 61–72. doi:10.1017/S004029821300168X. Barrett, Richard, and Paul Obermayer. 2000. “Response to Questions from Nic Collins for Noisy.org.” http://furtlogic.com/node/7. ———. 2009. “fORCH.” http://furtlogic.com/nodeorder/term/14. Bartlett,...

...understandings of the term. In my score-based context where improvisation is negatively defined, Nettl’s observation is especially acute. Moreover, I overlooked a cornerstone of my collaborators’ musical world view: for the improviser, who happily, skillfully, and often makes her own...

...relevant to notation for improvisers in this dissertation. In “Entextualization and Preparation in Ben Patterson’s Variations for Double-Bass“, I borrow the term entextualization from anthropologist Karin Barber (2007). This helps to shed light on how Patterson embeds the contingencies of...

...and actions. The term “valuaction” is coined to suggest the action-oriented as well as the decision-oriented aspects of V in the cycle. Performance which is the resultant of scores and is the “style of the process”. Together I feel that...

...contextualization of the term suggests why. The concept emerged in the field of anthropology in the 1980s and 1990s as a response to the rise of performance theory. According to Karin Barber, performance theory sought to provide an alternative to...

For the improviser, the physicality of producing sound (the hardware) is not a separate activity from the thoughts, emotions and ideas in music (the software). In the act of creation, there is a constant loop between the hierarchy...

What is the relevant way of speaking about Treatise? What are the terms? Can one really say anything explicit about it? (Cardew 1971, 102) 1 Introduction In “The Ground”, I asked myself two questions in response to an...