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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

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 03

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

...below the line “pizzicato Rigoletto full”. In comparison to the relatively minor effects of notational unclarity on the clothespin preparations, Variation X’s problems are significant; completely different actions are described. The question is not merely how but what the performer...

Chapter Ω

Chapter Ω

...reflect the hybridity of current contemporary and experimental music practice, as evidenced by the music discussed in Tactile Paths, and deincentivizes shared discourse across stylistic and methodological boundaries. The negative economic effects for artists and the negative social effects for...

Chapter 00

Chapter 0: The Ground

...but their concrete approaches to notation and improvisation vary wildly. The dispersive effects of this from the outside, however, are mitigated by adopting the perspective of a practicing artist; experience composing and playing such pieces provides knowledge of phenomenological aspects...

Chapter 04

Invitation to Collaborate — Répondez s’il vous plaît!

...begins; and its route through the diagram. Through these factors, the model makes visible what scores do – their effects on the whole creative process. For Halprin, an important consequence of visualizing scores’ behavior is the ability to identify whether...

Chapter 02

A Treatise Remix Handbook

...to symbols on the page. These tempi can therefore be considered to be moderate. Both the positive and negative effects of moderate tempi became clear to me when listening to Sonic Youth’s recording of p. 183. This performance is remarkable...

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...