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References

...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 Unpublished score.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,...

Chapter 00

Chapter 0: The Ground

...A Personal Beginning In 2007, violist Mary Oliver and contrabassist Rozemarie Heggen invited me to write a piece for their duo incorporating improvisation. Despite my diverse experience writing chamber music, free improvising, interpreting, and working in a host of...

Chapter 03

Entextualization and Preparation in Patterson’s Variations for Double-Bass

...and White File to order and often gave them away for free, up until his scores were published together in an anthology edited by Benedikt Stegmayer (2012). In my opinion Patterson’s direct, unfussy approach to writing, publishing, and distributing his...

Chapter 04

Invitation to Collaborate — Répondez s’il vous plaît!

...free the creative process by making the process visible” (1969, 3). In my following exposition of the RSVP cycle, I will concentrate on those aspects of the model that bear out Halprin’s claim, with an eye on its applicability to...

Chapter 05

Say No Score: a Lexical Improvisation after Bob Ostertag

...appear fixed and finished, such as articulation and ornamentation; and dyed-in-the-wool free improvisers might warm up to the potential of scores for diverse reasons, such as minimizing clichés in their own music. With this objective in mind, I dedicate the...

Chapter 02

A Treatise Remix Handbook

...musicians using any media are free to participate in a “reading” of this score (it is written from left to right and “treats” of its graphic subject matter in exhaustive “arguments”). Each is free to interpret it in his own...

Chapter Ω

Chapter Ω

...takeaway has been a renewed emphasis on the continuity and value-neutrality of notation and improvisation as parts of a larger creative landscape. In other words, I feel as free as ever to notate and improvise, together or separately, or not,...

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...