Word Events: Perspectives on Verbal Notation by John LelyWord Events: Perspectives on Verbal Notation by John Lely

Word Events: Perspectives on Verbal Notation

byJohn Lely, James Saunders

Paperback | May 10, 2012

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Verbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making. Works created with this type of notation are often referred to by their authors as event scores, prose scores, text scores or instruction scores. Word Events features over 170 scores, many printed here for the first time, representing the works of more than 50 practitioners including George Brecht, John Cage, Cornelius Cardew, Pauline Oliveros, Yoko Ono, Michael Pisaro, Karlheinz Stockhausen, Jennifer Walshe and La Monte Young. The commentaries in the book explore the compositional strategies and performance practice of particular works, contextualised by key essays, including previously hard-to-find texts by Lawrence Halprin and Kenneth Maue, together with many new statements and interviews from composers, artists and performers. This unique and wide-ranging collection of scores and writings will be indispensable to musicians, artists, those involved with community arts, and anyone with an interest in exploring the rich potential of the written word.
John Lely is a composer and performer. James Saunders is a composer, and is Head of the Centre for Musical Research at Bath Spa University, UK. He is the editor of The Ashgate Research Companion to Experimental Music.
Title:Word Events: Perspectives on Verbal NotationFormat:PaperbackDimensions:488 pages, 10 × 7.05 × 1.03 inPublished:May 10, 2012Publisher:BloomsburyLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1441173102

ISBN - 13:9781441173102

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Table of Contents

List of illustrations Introduction Acknowledgements Part 1: Grammar On the use of grammar in verbal notation Introduction Grammars Context Register Processes Tense Modality Mood Voice Circumstances Postscript Part 2: Scores, Writings and Commentaries Eric Andersen Opus 18 (1961) In Mezzo a Quattro Tempi Robert Ashley The Entrance (1965-6) Some notes on a performance of The Entrance Commentary: The Entrance G. Douglas Barrett A Few Silence (location, date, time of performance) (2008) A Text Score Manifesto Commentary Antoine Beuger one tone. rather short. very quiet (1998) Commentary George Brecht Time-Table Music (1959) and Time-Table Event (1961) The Origin of 'Events' Commentary Gavin Bryars Far Away and Dimly Pealing (1970) On Verbal Notation Commentary Arthur Bull From 25 Scores (1994) Statement on text scores John Cage Solo for Voice 6 (1970) Commentary Cornelius Cardew On the Role of the Instructions in the Interpretation of Indeterminate Music The Great Learning, Paragraph 6 (1968-71) Commentary Tony Conrad Selected pieces from 1961 compositions Word Scoring Philip Corner Music notation is about specifics*; Words are generalisations. GAMELAOONY (2004) Commentary Bill Drummond SHOW (2007) MY SCORES & ME Ken Friedman Zen Vaudeville (1966) Events, Scores, Notations Malcolm Goldstein wood stone metal skin, with voice (1983) Statement on verbal notation Daniel Goode Relaxing at the Piano (1977) Conceptual, Verbal, and Graphic Scores Lawrence Halprin A Summary of the Characteristics of Scores, from The RSVP Cycles: Creative Processes in the Human Environment (1969) Tom Johnson The Big Rumble and the Tiny Blip, from Private Pieces (1976) On Private Pieces: Piano Music for Self-Entertainment Seth Kim-Cohen Forever Got Shorter (from a t-shirt of the same name) (2010) How To Write A Text About How To Write A Text Score (And Why) Some thoughts on Forever Got Shorter Realising Forever Got Shorter Bengt af Klintberg From Twenty Five Orange Events (1963-6) Peel an orange carefully ... Alison Knowles Shoes of Your Choice (1963) Commentary Takehisa Kosugi South No. 3 (Malika) (1965) Commentary Joseph Kudirka superstition's willing victim (2007) Commentary Sol LeWitt 270 Wall Drawing #960 (2001) Wall Drawings Doing Wall Drawings Annea Lockwood From the River Archive (1973) Statement Alvin Lucier Notes on Verbal Notation Music on a Long Thin Wire (1977) Realising Music on a Long Thin Wire George Maciunas In Memoriam to Adriano Olivetti (1962) Commentary Benedict Mason telling (2002) outside sight unseen and opened (2002) Kenneth Maue From 'Ideas Around the Experiences', in Water in the Lake: Real Events for the Imagination Max Neuhaus LISTEN (1966) LISTEN Pauline Oliveros Ear Piece (1998) Commentary Michael Parsons Walk (1969) Commentary Ben Patterson Solo for Dancer (1962) On Solo for Dancer Michael Pisaro Only (2005-6) Ten Encounters (A Personal Text Score History) Commentary Erik Satie Performance Indications Craig Shepard Lines (1) and Lines (2) (1999) Use of text notation Kunsu Shim PLACES with Airhorn (1999) Statement: Verbal Notation Mieko (Chieko) Shiomi Event scores (1963-4) Text Notation Hugh Shrapnel Houdini Rite (1970) Verbal Music Howard Skempton for Strings (1969) On for Strings Mark So Some forgotten day (sparse winter) (2009) Text composition - scores and structure after 4'33" Karlheinz Stockhausen RIGHT DURATIONS (1968) Commentary Jennifer Walshe dirty white fields (2002) Commentary Manfred Werder 20051 Text Scores - Statement (1) Statement on Indeterminacy Commentary John White Newspaper-Reading Machine (c. 1971) Statement on Verbal Notation Commentary Michael Winter for Sol LeWitt (2009) Relativity and Scalability in Respect to Sound and Silence Daniel Wolf The Long March (2009) Notes with or without Notes Christian Wolff Stones (1968) On verbal notations Commentary Amnon Wolman February 26, 2000 Statement La Monte Young Compositions 1960 11 II 07 Corrected Numbering System for 1960 Works Commentary Why I Withdrew from Fluxus Sources Bibliography

Editorial Reviews

"Diverse models of scoring and text-based instructions have animated experiments in music, performance, visual art, dance and poetry for over fifty years. A crucial tool in the emergence of interdisciplinary art practices, verbal notation deftly cuts across genres and categories. Short event scores, long prose pieces and enigmatic statements potentially cue actions from swinging microphones to making a salad to playing a long sustained chord. Key decisions are left to performers, and realizations may be concrete and audible or simply generate a state of awareness. It is the ultimate open form. Combining scores, statements and short critical essays, Word Events brings together classic works with more recent projects that show the continued vitality of this practice. This is a collection we have needed for a long time." - Liz Kotz, Associate Professor of Art History, UC Riverside and author of, Words to Be Looked At: Language in 1960s Art