recorded in South Hall at Oberlin College.
listen
performance suggestions
an outline of some suggestions for playing the score:
2011
“Sonic Disobedience” or “The Lecture on Civility”
1. Preparation for “Sonic Disobedience” (Being Present)
2. The Shape/Form of sonic disobedience (Circular Function)
3. How to be Heard (Shock Value)
4. Emulating the Walker (Commitment)
5. Rejecting Assumption/Disregarding Standards ((Ignore)ance))
6. Embodying the Transcendentalist Child (Infancy)
7. The Irrelevance of Individuality (Collectivism and Anonymity)
- Performers enrolled to relay text should communicate the words directly either through speech or whatever means seems most appropriate for the situation.
- Textual performers should disregard anything hand-written that is not on a scrap of staff paper. This includes pictures and punctuation marks.
- Instrumentalists should look at the hand-written cursive text on each page for propositions of how to most successfully express the information on that page.
- All performers should work at the same pace. No single performer should move onto the next page of the score until every other performer has completed all they'd wanted to complete on the current page.
- Do not fear silence or feel any need to communicate your responses to the score in an audible manor, simply do precisely what you deem most appropriate for conveying the score in your specific performance setting.
- Spend as much time as you feel is necessary examining the score before the performance.
Reader 1: typed print
Reader 2: handwritten print on staff paper
Instrumentalists: cursive handwriting
2011
“Sonic Disobedience” or “The Lecture on Civility”
1. Preparation for “Sonic Disobedience” (Being Present)
2. The Shape/Form of sonic disobedience (Circular Function)
3. How to be Heard (Shock Value)
4. Emulating the Walker (Commitment)
5. Rejecting Assumption/Disregarding Standards ((Ignore)ance))
6. Embodying the Transcendentalist Child (Infancy)
7. The Irrelevance of Individuality (Collectivism and Anonymity)
- Performers enrolled to relay text should communicate the words directly either through speech or whatever means seems most appropriate for the situation.
- Textual performers should disregard anything hand-written that is not on a scrap of staff paper. This includes pictures and punctuation marks.
- Instrumentalists should look at the hand-written cursive text on each page for propositions of how to most successfully express the information on that page.
- All performers should work at the same pace. No single performer should move onto the next page of the score until every other performer has completed all they'd wanted to complete on the current page.
- Do not fear silence or feel any need to communicate your responses to the score in an audible manor, simply do precisely what you deem most appropriate for conveying the score in your specific performance setting.
- Spend as much time as you feel is necessary examining the score before the performance.
Reader 1: typed print
Reader 2: handwritten print on staff paper
Instrumentalists: cursive handwriting
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