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Browse Scores by Title: (A-to-Z | Z-to-A | random | recent | by year)
Current # of Scores: 1782
* NOTE: this is not a complete list of titles. only title-pages that have
declared their year-of-creation will appear here
|
| 2006
|
| | 20061
| (Manfred Werder)
| indeterminate
| | 20062
| (Manfred Werder)
| indeterminate
| | 4 022
| (Mark So)
|
| | a box of wind
| (Mark So)
|
| | a last world
| (Mark So)
|
| | almost every piece
| (Michael Winter)
|
| Alone Together
or
Between You and Me
| (adam overton)
| ... involving Schwartz & Dietz's 'Alone Together', in 3 simultaneous movements, with an optional Epilogue
| | ASCENSION
| (Mark So)
|
| | as the star (sortes vergilianae)
| (Mark So)
|
| | Aura[l] Studies
| (adam overton)
|
| | Contact Studies
| (adam overton)
| for performers with amplified contact microphones, rubbing, scraping, scrubbing, wiping along one another's bare surfaces
| | Conversation Pieces
| (adam overton)
| a week-long, collaborative gallery exhibition, workshop series, and pamphlet, by Elana Mann and Adam Overton
| | Difficult Music For Everybody
| (adam overton)
| 4 pieces of difficult music for "everybody", with accompanying essay-miniature
| | diy for larry polansky
| (Michael Winter)
|
| | doorstep in the wind
| (Mark So)
|
| | for cassia streb
| (Michael Winter)
|
| | for michael pisaro
| (Michael Winter)
|
| | For Performer And Hidden Object
| (adam overton)
| hide a mildly uncomfortable object of your choice, somewhere where it will be hard to forget its presence...
| From Here To You:
Adverbs for Yoko Ono's Touch Piece
or
I'm [not] touching you, I'm [not] touching you, I'm [not] touching you, ...
| (adam overton)
| Adverbs for Yoko Ono's Touch Piece
| | GOLDWATER REVOLUTION
| (Mark So)
|
| | grasslands
| (Mark So)
|
| | [I'd like to] Thank You [All] For Being Here
| (adam overton)
| testing each spectator's presence (just to be sure), and then thanking them for being here
| | Inner Voice
| (adam overton)
| perform one of the inner voices of any orchestral work as a solo
| | Intersections I
| (Michael Winter)
|
| | in tone
| (Michael Winter)
|
| | Introductions For Orchestra Or Large Ensemble
| (adam overton)
| "Hello, my name is ___"
| | Is And Was And Evermore
| (adam overton)
| Press your ear to someone's heart / mind / breath, and ...
| | Kissing Dyads
| (adam overton)
| for those in attendance
| | Leak
| (john)
| Leak from any combination of orifices as seems fit.
Exp. pee, drool, cry
| | Listening Performances
| (adam overton)
| The following are listening options that can be offered to spectators before any musical or sonic occasion, and can be used especially during any performance that one might not be enjoying for whatever reason(s).
| | little blue
| (Mark So)
|
| | MAHLER
| (Mark So)
|
| | music for any film
| (Mark So)
|
| | nothing...I
| (Michael Winter)
|
| | Of the January sun
| (Mark So)
|
| | Prime Decomposition
| (Michael Winter)
|
| | random I
| (Michael Winter)
|
| | rising landscape
| (Mark So)
|
| | Robbie Hansen: Quite Playin wit Cho Balls
| (experimental meditation database)
| A video of indicative objects seemingly functioning as one mind.
| | Romantic Music: Solo For Orchestra Nos. 1 & 2
| (adam overton)
| to tears, to climax...
| | ROSES IN WINTER
| (Mark So)
|
| | Second Ensemble Song
| (Stephen Chase)
|
| | sort I
| (Michael Winter)
|
| | soundwalk 1
| (Mark So)
|
| | soundwalk 2
| (Mark So)
|
| | soundwalk 3
| (Mark So)
|
| | Streams I
| (Michael Winter)
|
| | The Buffalo Skinners
| (Mark So)
|
| | the mayan empire
| (Mark So)
|
| | the nabataean empire rekem in fall
| (Mark So)
|
| | three books and a dissertation
| (Michael Winter)
|
| | Touch Music Pieces
| (adam overton)
| 3 touch pieces for ensemble
| | Trajectories
| (Michael Winter)
|
| | until the wind blew
| (Mark So)
|
| | Vs. Computer
| (Cristyn Magnus)
| a game piece for percussion and interactive electronics
| | Wet Glasses
| (Stephen Chase)
|
| | whatever comes between readings 17
| (Mark So)
|
| | ...ŕ son dernier soupir
| (Martin Iddon)
| Relatively normal actions on three stringed instruments are radically and exaggeratedly slowed down. The normal wavering in an ordinary bow stroke is magnified at this glacial tempo, and we are able to perceive characteristics and capabilities of the instruments ordinarily unheard.
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