References
Andersen, Eric. 2012. “In Mezzo a Quattro Tempi.” In Word Events: Perspectives on Verbal Notation, edited by John Lely and James Saunders, 79–82. London: Continuum. Anderson, Michael L. 2003. “Embodied Cognition: A Field Guide.” Artificial Intelligence 149...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...In the modern period, the increased emphasis on the textual analysis of the “work” establishes the composer’s score as the site of music, marginalizing music’s corporeal aspects, including its embodied and contingent performers (Taruskin; Goehr). And improvisation – which privileges...
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...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...people” (Canty 2004, 23). Natural conditions of the site: undeveloped coastal land 120 miles north of San Francisco near the San Andreas fault; cool, damp, windy climate; active ocean; rolling meadows; patches of redwood forest. Historical conditions of the site:...
Chapter 00
Chapter 0: The Ground
...of notating. One wonders, how did Mengelberg go about writing these pieces in the first place? Clearly they were not written for a generic orchestra or string quartet – they were written with his own improvisatory proclivities, the sizeable personalities...
Chapter Ω
Chapter Ω
The End? Tactile Paths is modular in nature; as I mention in Chapter 0, its constituent chapters, or paths, can be traversed in any order. It might therefore seem odd to offer a conclusion, since readers are encouraged...
Sample Page
...This is an example page. It’s different from a blog post because it will stay in one place and will show up in your site navigation (in most themes). Most people start with an About page that introduces them...
Chapter 01
Seeing the Full Sounding
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...
About
...Darmstadt Summer Courses, the Arts Council of Catalunya, Goethe Institut, Hauptstadtkulturfonds Berlin, the Festival Acanthes, and the American Documentary Film Festival. He also co-curates the Berlin concert series KONTRAKLANG, and works with sound experience designer Charles Morrow Productions. www.christopherisnow.com...