| 3x3
| (Jukka-Pekka Kervinen)
| for piano
|
| 4:BG04/10PVD'09
| (Richard Kamerman)
| a private work for a public space
|
| across
| (Jukka-Pekka Kervinen)
| for piano
|
| all audio
| (kathy mctavish)
| all available cello sound samples / soundscapes
|
| Aria for voice(s) (2010-11)
| (Alexis Porfiriadis)
| Verbal (25 actions) - Graphic (10 collages) score for voice(s)
|
| as well
| (Jukka-Pekka Kervinen)
| for piano (or celesta/harp/violin)
|
| At Once by Other Ones
| (Cristyn Magnus)
| for contrabass and optional interactive electronics
|
| Broken Cello Lee Barry
| (LeeBarry)
| A piece for solo cello for performance with a recording of itself, playing in 1-2 devices set on continuous random play. The piece may also be performed by 2-4 players, with or without the recording(s).
|
| fragment 081709
| (Jukka-Pekka Kervinen)
| Open score for any number of instrument(s).
|
| Freckle Exchange
| (Audra Wolowiec)
|
|
| Lamination
| (Cristyn Magnus)
| for flute and environmental sounds
|
| map 1
| (Jukka-Pekka Kervinen)
| open score for any number of instruments
|
| Mirror
| (Cristyn Magnus)
|
|
| Noise
| (Scott Cazan)
| A work for megaphones based on Google search queries. The title is a reference to the book, "Noise: The Political Economy of Music" by Jacques Attali.
|
| Outliers
| (Scott Cazan)
| A work for 3 or more performers involving the statistical analysis of its own performance
|
| Pantomime Grasshopper
| (Cristyn Magnus)
|
|
| Projected Space 1.x for Harmoniums and Recorded Medium
| (Luke Thomas Taylor)
| Piece for one or more Harmoniums to be performed with a recording of the previous performance. This is a card shuffling piece, so the file should be printed to 3x5 cards. Contact me if you'd like to perform it and I will provide you with the latest recording.
|
| Prose Anthology 1983-88
| (Daniel James Wolf)
| Including: DISTINCTIONS for small ensemble / CONNECTION (After William Billings) for ensemble / SCHOOL OF LEVITATION for any bowed instrument / ELECTRONIC PIECES: 1. All the wrong places, 2. Funhouse, or She Came Back, 3. One Last Wave / LARGE ENSEMBLE / BACKYARD CONSPIRACIES / SERENADE / SATISFACTORY RENOVATIONS OF FAMILAR CONTENTS / SARDINES
|
Rehearsal Piece (No End In Sight)
or
Almost Forever
| (adam overton)
| ... as endlessly as possible [forever?] ... for Christian Kesten
|
| Rehearsal Pieces
| (Jason Grier)
| Pieces with scheduled rehearsal times and locations.
|
| School of Piano Levitation
| (Daniel James Wolf)
| Dr. Wolf's Complete & Correct SCHOOL of PIANO LEVITATION. Three etudes for solo piano.
|
| Six Textures for Rock Quartet
| (Adam Scott Neal)
| indeterminate and mellow piece for keyboard, elec. guitar, bass guitar, and drum set
|
| Spotting Nowhere for 4 string instruments (2010)
| (Alexis Porfiriadis)
| Verbal (43 actions) and graphic (29 graphics) score for ensemble
|
| StartAHabit
| (it will tit will will you will the)
| start a bad writing habit
|
| Still
| (Scott Cazan)
| A work of variable length for 2 or more string instruments. Originally written for Andrew McIntosh and Andrew Tholl. Commissioned by Machine Project as part of the coatroom concert series at The Hammer Museum.
|
| take the vow
| (it will tit will will you will the)
| their / they're / there
|
| The Long March
| (Daniel James Wolf)
| Instructions for preparing a score for four off-the-shelf melodicas, in the four corners of the performance space.
|
| The Mating Habits of Lines
| (Audra Wolowiec)
| The title is borrowed from Ree Morton's book, The Mating Habits of Lines. This text piece is based on drawings and translated into instructions to be acted out by people, to imply the physicality (and possible romance) of mark making.
|
| Titanic
| (Isaac Schankler)
| Titanic is about icebergs and other big things.
|
| twentysix
| (Richard Kamerman)
| text-based graphic score generated with the aid of optical character recognition software
|
| Vs. Computer
| (Cristyn Magnus)
| a game piece for percussion and interactive electronics
|
| write until you ____ .
| (it will tit will will you will the)
|
|
