Experimental music score
Found in 133 Collections and/or Records:
Paperplay: A Non-Scatological Set / Gaburo, Kenneth., 1976
Paperplay: C, ....IS / Gaburo, Kenneth., 1976
Paperplay: Extraction / Gaburo, Kenneth., 1976
In this score, the word "extraction" is repeated in a column on the left side of the page and coupled with different words or phrases on the right side of the page. -- Source of annotation: Marvin or Ruth Sackner.
Paperplay: Murmur / Gaburo, Kenneth., 1976
This is one of six books with an identical cover distinguished by the location of an arrow pointing to a title on the cover. -- Source of annotation: Marvin or Ruth Sackner.
Paperplay: The Beauty of Irrelevant Music / Gaburo, Kenneth., 1976
On page 3, Gaburo prints the following: When asking students the question: Why do you want to compose? the best answer given to me thus far has been: "I HAVE NO CHOICE!" -- Source of annotation: Marvin or Ruth Sackner.
Paperplay: The Music in Samuel Beckett's / Gaburo, Kenneth., 1976
Partitury, 1980
This book is a compendium of experimental music scores that have been translated into the Czech language where appropriate. The title translated by Rodano Parmova & Petr Sevcik into English is Score: Graphic Music, Phonic Poetry Events, Paraphrases, INterpretations. -- Source of annotation: Marvin or Ruth Sackner.
Phonetic Diabelli or a Picture of Childhood / Curtay, Jean-Paul., 1980
This is a score for five voices of body poetry. -- Source of annotation: Marvin or Ruth Sackner.
[poem home] / Nikonova, Rea., 1996
This work has been taken from the Archive of O!!Zone 1997. -- Source of annotation: Marvin or Ruth Sackner.
Rara: (Dolce) Per Flauto Diritto / Bussotti, Sylvano., 1966
Rara (Eco Sierologica) / Bussotti, Sylvano., 1967
Rolywholyover: A Circus, 1993
The prints are photographic reproductions of some of the works in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.
Rust Belt (Collectors Edition) / Orangeflux., 1997
The pages of the book consist of the verbal score for the recording. These reproduce highly varied typefaces and layouts achieved with a digital computer. The recording itself is not held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.
Score for Reveille / Ulher, Birgit., 2007
This poster is the program of concerts presented by Jennifer Allora and Guillermo Calzadilla titled "Wake Up." Ulher's score is described as a starkly conceptual approach to Reveille. -- Source of annotation: Marvin or Ruth Sackner.
Selected Writings / Young, La Monte ; Zarzella, Marian ; Kostelanetz R., 1969
This book includes five pages of calligraphic markings by Zarzella and a long interview of Young by Richard Kostelanetz. -- Source of annotation: Marvin or Ruth Sackner.
Self-Similar Melodies / Johnson, Tom., 1996
Johnson explains the logical and mathematical techniques he uses in his musical compositions including finite and infinite automata, paper folding formula, and sequences taken from Pascal's triangle. -- Source of annotation: Marvin or Ruth Sackner.
Sette Fogli: Una Collezione Occulta / Bussotti, Sylvano; Cardew C; Neuhaus M; Boehmer K., 1963
Each print is a chamber music piece that was coposed in 1959. According to the editor, "these pieces are intended to evoke immediate and spontaneous interpretation by the players. There is no precise explanation of markings, a given marking is self-explanatory, or is explained by virtue of its 'magic' origin. The degree of paralelismthat can be attained between signs and their acoustic realization will create the occult attraction of every imaginative realization process. -- Source of annotation: Marvin or Ruth Sackner.
Seven Miniatures OP. XIV / Phillips, Tom., 1970
Although the colophon is numbered 25/100, Phillips signed the work 14/100. One of the prints is taken from Phillips' opera "Irma" and has Humument imagery. The prints feature stencilled, empty letters characteristic of one of Phillips' styles. These are depicted in Tom Phillips: Works Texts To 1974, page 260-261. Phillips mentions that this wotk was first performed by John Tilbury in 1971. The Humument fragments read "quite high - intonation devine time (top print) and "tr - Low and high divisions - s- the hiss of cheeks (bottom print). -- Source of annotation: Marvin or Ruth Sackner.