The Language of Paper vs The Language of Experimental Music

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My actions and their actions (the musicians) are not too different.  I rip, smooth, fold, score.  So do they.  I start and stop, scrape and crackle.  I think about tone and scale, composition and rhythm. What parallels can I find within our mutual language?  How do I read a score and what methods do we use to interpret the score and the sound?  The rules of experimental music focus on an unpredictable action, an unknown outcome.  These words may bind us, but what about our own visual and sonic outcomes?  Do they work?  And how does an audience read visually and sonically, can these co-exist in one viewing//listening?

Words I’m thinking about:

SOUND // NOISE // SCORE // GLITCH // SQUIGGLE // LINES // RIFF // SONG // TONE // COMPOSITION // CRACKLE // RIP // CHANCE MUSIC //UNPREDICTABLE ACTION // THE OUTCOME IS UNKNOWN // EXPLORATORY ATTITUDE // LOW TECHNOLOGY // SOUND POETRY // LINGUISTICS // NEW INSTRUMENT BUILDING // PRIORI GROUPING // SHIFT FROM REPRESENTATINALISM TO PERFORMATIVTY // TOTAL SERIALISM // SCALES // SCALE // DRONE // MINIMAL // PITCH // LAYERS // CONCRETE MUSIC // RHYTHM // HARMONY // METRE // ENGINEERING // MUSICAL SPLITTING OF THE ATOM // ATONAL // SERIAL // PRIMAL SCREAM // FLUXUS // FREE IMPROVISATION // EXPERIMENTAL MUSIC ACTS AS BOTH TECHNIQUE AND AS A GENRE // CIRCUIT BENDING // RADIO FREQUENCIES // PAPER FREQUENCIES // THE TEST OF A HIGH QUALITY PIECE OF PAPER IS IN HOW IT SOUNDS (NOT HOW IT IS SEEN OR FELT) // PLAY // MARKERS // SYMBOLS // STAVES // LINES // SPIRALS // CIRCLES

 

 

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