In a program curated by Adam Tinkle, UCSD’s accomplished improvisers play graphic scores that bridge the divide between expressive visual stimulus and rule-bound system. At one synaesthetic extreme, in works by Smith and Lander, color and shape spur improvisers to respond in real time. By contrast, Simons offers specific pitch sets for the translation of a map-like diagram. Anthony Braxton’s intricate music layers the conventional Western musical staff with expressive annotations, creating a three-dimensional hypertext that oscillates between complexist control and interpretive freedom.
“Notation in this context invariably becomes a stabilising factor that functions with the total scheme of the music rather than a dominant factor at the expense of the music.”
--Anthony Braxton
Program
-Study no. 5 [Rainbow] (2011) by Ryan Ross Smith
-Auto-acoustic deviation curves (2014) by Adam Tinkle
-Excerpts from Objects in Space (2013--) by Bonnie Lander
—pause—
-Too Late, the Bridge Is Closed (1976) by Netty Simons
-Comp. 107 (1982) by Anthony Braxton
