Chapter 00
Chapter 0: The Ground
...first glance to be succinctly definable; however on closer inspection it reveals itself to be a global, amorphous, and problematic concept into which extremely diverse meanings can be subsumed, particularly since the 1950s” (1997, 1, my translation). 10 In order...
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 05
Say No Score: a Lexical Improvisation after Bob Ostertag
...stretching his own competence as a bandleader, much like Zorn did as the conductor of Cobra, 10 or Braxton did while on tour with his classic quartet in the 1980s (see Lock 1988). To bring the human/virtual cycle of (1)...
Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...only a means to recreate the piece in a generic sense; it also traces an actual performance history. (What is the relationship between the two?) Moving on to page 2, I find the handwritten word “(Tuning)” at the end of...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...For artists and scholars working with notation for improvisers, these “major configurations” are extremely promising in themselves. They offer a gradated view of prescription and preservation, as well as a view of what lies beyond the work. Unfortunately, however, Halprin’s...
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...
Chapter 02
A Treatise Remix Handbook
...(e.g. two digital versions’ assignment of A440 to the lifeline). 10 Had my goals been of an archival or taxonomical nature, such connections and their systematic scrutiny might have provided the basis for an entire dissertation alone. But my inquiry...
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...