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Chapter 04

Invitation to Collaborate — Répondez s’il vous plaît!

...Notation is an invitation to collaborate. 1 In the planning of communities a score visible to all the people allows each one of us to respond, to find our own input, to influence before decisions are made. Scoring makes...

Chapter 00

Chapter 0: The Ground

...itself, is that quality of notation that arouses performers’ “material consciousness”, a term coined by sociologist Richard Sennett in his book The Craftsman (2008). Sennett offers “a simple proposal about this engaged material consciousness: people [craftsmen, CW] are interested in...

References

...Improvisors.” http://www.americancomposers.org/improvise/iyer_essay.htm. Jeanneret, Christine. 2013. “The Score as Representation: Technologies of Music Book Production in Italy (1580s-1650s) and Their Editorial Implications.” In Early Music Editing: Principles, Historiography, Future Directions, edited by Theodor Dumitrescu, Karl Kügle, and Marnix van Berchum, 171–94....

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...

About

...continuum has been published in Open Space Magazine, The Improvisor, and Critical Studies in Improvisation, and has been presented at major universities and international conferences in North America, Europe, and India. A book chapter co-written with Mathias Maschat is forthcoming...

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

...a performer, the performer is “affected”, “influenced”, and “directed” by the score. 1 Improvisers often choose notation in order to transform or expand their own materials and methods. Thus, scores that question and create more possibilities for those materials and...

Chapter 03

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

...who possess an intimate understanding of its parameters of expression, its interactive possibilities, and the stakes involved in the commitment to process. 1 (Iyer 2004) How, why, and what these artists notate can vary substantially. Some transmit aspects of their...