Chapter 03
Entextualization and Preparation in Patterson’s Variations for Double-Bass
...by Germans for the most banal of record-keeping, the seventeen Variations are unassumingly sandwiched between Duo (1961), for voice and string instrument, and Paper Piece (1960), for an unspecified number of performers playing (with) paper. The humble presentation of this...
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 02
A Treatise Remix Handbook
...pages of lines and shapes, clustered around a strong, almost continuous central line, which can be imagined as the lifeline of the reader, his center, around which all manner of activity takes place […] (Cardew 1971, 113) Any number of...
Chapter 04
Invitation to Collaborate — Répondez s’il vous plaît!
...power) need not be followed to their bitter end, that creative community-building strategies may be substituted in place of a (partially) determining text. (Nicholls 2012, 114) Yet music by a number of improvisers who use notation does in fact privilege...
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 the...
Chapter Ω
Chapter Ω
...do not by any means exhaustively represent the field of notation for improvisers. Nor do they represent, as I explain in Chapter 0 (“Objectives and Criteria”), the potentially infinite number of subcategories imaginable within the field. Rather, I believe they...
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 01
Seeing the Full Sounding
...sing a resonance of lush green. (Goldstein, as quoted in Arms 2012, 39). This poetic cluster, in which the materiality of sound, movement, and subjectivity intersect, leads me to a number of questions. How does Goldstein’s notation articulate the terms...