This is a continuation of the previous large bibliography with its more than 650 entries which ended with the publishing year of 1999 (apart from some very few exceptions, please see note 1) in that text). This one solely lists works and literature published from 2000 and on, while newly discovered addenda to the other one are included there.

If you are here for the first time or if you are doing a general literature search, be sure to see the really large one here.

See some imagined FAQs here!

In the event that an URL is no longer active, you may try www.gigablast.com with its "wayback machine" which can in some cases find old material, even after many years.

I've taken a more relaxed approach to this addenda list than to the other bibliography. It aims less towards being exhaustive, in the relative meaning of making sure I get all I think may be important to some degree, not that exhaustiveness really could exist in an absolute sense. There is much less systematic search of databases etc.(see the remarks before each category in the "Appendix" section in the large bibliography). Therefore, those who search should even more here not refrain from making their own investigations! It must also be noted that not only are databases better updated now than at the time of completion of the big bibliography, but they might have grown both more, bigger and more comprehensive. This could be an open field for further research, certainly also into materials dating before 2000.

Readers are welcome to suggest new material (here), but I reserve the right to decide about possible inclusion, with views to both quality and the limitations of the scope of this list (for instance, it deals exclusively with music).

Items here appear with their category codes between (parenthesis), distinguishing the new list from the old.

CLASSIFICATION SURVEY

This system has been employed for classifying the subjects (taken over from the 1945-1999 bibliography):

VARIABLE WORKS AND AURAL SCORES

A. EDITIONS OF WORKS AND AURAL SCORES

(a2.2.1) SELECTED PUBLISHED WORKS (new category)

(a2.2.1)/ Ames, Anke: Bast Siegel, Dortmund (Musikverlag Manfred Weiss) 2005.

For music and dance. 40 sheets, some of them in colours. Texts in English and German.

(a2.2)/ Ames, Anke: Gaia. Kompositionen für improvisors, Dortmund (Musikverlag Manfred Weiss) 2003.

Collection of open compositions. Graphics and German texts.

(a2.2.1)/ Broetzmann, Peter: Signs. A card game, 2002.

A collection of cards in a box with various fantasy-stimulating suggestions. Made for an exhibition at Ystad Art Museum, Sweden in a number of 120 copies. Contact email: broetz@wtal.de

A2.2. SOME DANISH AND FOREIGN ANTHOLOGIES/SERIES/COLLECTIONS.

(a2.2)/ See also: Bergstroem-Nielsen (g3;2007)

(a2.2)/ Stockhausen, Karlheinz; von Hintzenstern, Michael: Booklet for Stockhausen Complete Edition CD 17.1, 2005.

This booklet contains reprints of 6 out of the 17 pieces notated with texts contained in the collection For Times to Come (1970, publ. 1976): Shortening - Awake - Halt - Presentiment - Inside - Wawes. Also a short article by Michael von Hintzenstern on the history of this ensemble, the collaboration with Stockhausen over the years and a report of the work preceding these recordings.

B WORKS AND AURAL SCORES HAVING BEEN PUBLISHED IN EXTENSO, BUT NOT AS INDEPENDENT EDITIONS

B3. VARIOUS FOREIGN WORKS

(b3)/See also ringgespräch (2004; G2.1).

(b3)/ la Barbara, Joan: "Voice piece: one-note internal resonance investigation" (1975) and "Circular Song". In: MusikTexte 116, p.6-7, February 2008.
  Two pieces exploring extended vocal techniques notated with verbal and graphical means.

(b4)/ Bremberg, Brita; Kruse, Gro Shetefig; Nielsen, Mette Stig: Listen to Scandinavia, Copenhagen, Edition Wilhelm Hansen 2007.
  The electronic music by Bent Lorentzen comes with an aural score by the composer.

C: WORKS AND AURAL SCORES, PARTS OF WHICH HAVE BEEN QUOTED IN PUBLICATIONS

(c2)/See also ringgespräch (2004; G2.1).

D. UNPUBLISHED WORKS AND AURAL SCORES

(d1)/ Wilson, Peter Niklas: "Ohne Titel" [posthumous - für Kontrabasquartett und Ensemble (2001)], MusikTexte 99, Dezember, 2003.

A plan to play from. Wilson was both musician and writer about improvised music.

WRITINGS

E. WRITINGS ON NOTATION

(e1(/Cox, Christopher: Every Sound You Can Imagine. Programme booklet for the exhibition at Contemporary Arts Museum Houston, 2008. ISBN 978-1-933619-15-6. Also online at IIMA: http://www20.brinkster.com/improarchive/cox_es.htm.

This short article brings to light some important aspects of the role of notation in Western music culture. "...notation is a relatively recent invention in the history of music, as is the distinction between composition and performance" the author states. However, he goes back to the Middle Ages to point out that the role of notation initially was that of a "Mnemonic aid...that became ever morenecessary with the introduction of multiple melodic lines". In later history, the market replaced courtly patronage, and written music became the answer to the need of the market for exchangeable objects and commodities (with the invention of printing as an important step, I am tempted to add). Copyright legislation pushed this development further. Staff notation became an international standard but later went into a crisis when mechanical reproducing means were invented. Some composers began to employ new sounds that could not be notated in the old system, and new electronic instruments were invented. During the same period, jazz became a part of Western culture, in which the score was considered "a mere sketch, a springboard for creative improvisation". A number of experimental scores were written from the 1950s and on. From the 1990s and on, the popularization of electronic music production together with video production revived the interest in notational experiments on a synaesthetic basis.

(e2)/ Jahn, Hans-Peter: "Zur Qualität des Gedächtnisverlusts. Fesseln der Notation", MusikTexte 109, Mai, 2006.

One of the papers from the Notation Congress Berlin December 2005. The author makes the statement that playing from traditional notation presupposes loss of memory. This action sets the musician free to give shape to the music. Also many small free spaces appear, from one note to the next, creating "paradises of freedom". This is contrasted with the situation of improvising and its "sloppy regulations" (p.21). That which is notated is compared to a crash barrier on a motorway, whereas the music consists of all that which is not notated. This is contrasted to the situation of improvisation: "In improvisation there are no such crash barriers. There are only agreements and random happy moments of a musical logic, as well as the randomness of collectively composed cogency", p.21.

This is an interesting contribution to comparatively discussing characteristics of improvisation and composition, because the author sets forth a coherent view of what is the interpreter's co-creating role when playing from traditional notation. At the same time, there is analysis enough of elements of improvisation to yield substance to his discussion. An additional delight is the extraordinarily brilliant rhetorics.

One possible critical question to this article could be concerned with how small the free spaces have to be according to the author in order to be interesting? When do they cease to be "paradises" and instead become "sloppy"? This question seems important because so many experimental notations devise free spaces of many sizes, often bigger than traditional note-to-note ones while still maintaning something seemingly comparable to the "crash barrier" mentioned in the article - you may for instance think of Earle Brown, as well as of many others.

(e2)/ Lock, Graham: "What I Call a Sound": Anthony Braxton's Synaesthetic Ideal and Notations for Improvisers, in: Critical Studies in Improvisation (www.criticalimprov.com) vol.4, 2008.
  Unfortunately, none of Anthony Braxtons' compositions are still not published in writing, even though a large text in five volumes (Heffley (1996;C2) comments them extensively, however without going very much into the notation. Through this text one can gain a little more insight into various signs he employs, which in many cases differ widely from one work to another.

(e2)/ Lukoszevieze, Anton: "Die Welt als Musik durchwandern. Der US-amerikanische Komponist Philip Corner", MusikTexte 99, Dezember, 2003.

Comments on graphic and verbal music works with several examples. P.C. got additional inspiration for his work with graphic notations during a stay in Korea.

(e2)/ Möller, Torsten: "Im Zeichen der Konsolidierung. Der Berliner Notationskongress 2005 - Notation zwischen Norm und Excess", MusikTExte 108, p.80,, 2006.

The author reports from a notation congress having a narrow focus centered on traditional notation and analyzes how this perspective might be widened out.

(e2)/ Möller, Torsten - Shim, Kunsu - Stäbler, Gerhard: SoundVisions, Saarbrücken (Pfau) 2005.

An inspiration for this book was the very classic book Notations, compiled by John Cage (a2.2 1969). And in one of several introductory articles preceding this collection of notation samples, Paul Attivello deplores that new notations of the Darmstadt generations were put aside by more conservative notation trends. Composers like Sylvano Bussotti, Aldo Clementi, Franco Evangelisti, Roman Haubenstock-Ramati, Mauricio Kagel, Anestis Logothetis and Dieter Schnebel deserved more attention according to this author. But despite these statements, this book contains mostly music notated in the standard way, sometimes with sketches being more interesting than final results when seen from a visual aesthetic point of view. Some exceptions, besides realisation scores from electronic music, are instances of innovative notations by Anton Lukoszevieze born 1956 (free graphic notation), Alwynne Pritchard born 1968 (mobile), Yuji Takahashi born 1938 (free graphic notation), as well as use of optical notation by Vykintas Baltakas born 1972, Aldo Clementi and a complete sound poem by Josef Anton Riedl born 1927. There is no accounting for the criteria of selection of composers. As a catalogue of contemporary music quite generally this book could serve as a reference work or as a work for browsing through, with its inclusion of 153 living composers and biographical notes of each one. All editorial texts are in both English and German, and texts accompanying the composition samples are in English. But the reader seeking information about innovative notations is likely to be disappointed. There must be much more around - at least in the corners....

e2/ Trescher, Margret: "Cornelius Cardews "Treatise" und die Gruppe AMM", MusikTexte 86/87, November, 2000. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(e2)/ Wilson, Peter Niklas: "Die weisse Leinwand. Notitzen zum Verhältnis von Bildender Kunst und improvisierte Musik" in: MusikTexte 100, Februar, 2004.

Deals among other things with action painting, giving ´inspiration to improvisors Phil Minton and Keith Rowe and with graphc scores, dealing with Cardew: Treatise as a prime example

(e2)/ Woolman, Mat: Sonic Graphics. Seeing sound, London (Thames and Hudson) 2000.

Deals with several kinds of visual design related to sound, among others CD covers. Music notation is touched upon in one chapter, quoting Paolo Motta and text compositions (with layout) by Stephen Montague (probably previously unpublished pieces in both cases).

F. COLLECTIONS OF EXERCISES, WRITINGS AND MUSIC WORKS FOR EDUCATIONAL USE

F1.1 COLLECTIONS OF EXERCISES AND RELATED WRITINGS

(f1.1)/ See also: Bergstroem-Nielsen (2007;G3)

(f1.1)/ See also: Rüdiger et al (2004;F2)

(f1.1)/ Ausländer, Peter: Experimentelles Musik- und Tanztheater in der schulmusikalischen Praxis und in der kulturellen Jugendarbeit, Landesarbeitsgemeinschaft Spiel und Theater NRW e.V, Vlotho 1997.

Includes a printing of the open composition PLAY III by Johannes Fritsch.

(f1.1)/ Hansen, Niels Chr.: Different Approaches to an Improvisational Practise based on the Piano Music of Toru Takemitsu". JMM, Journal of Music and Meaning vol.6, 2008, http://www.musicandmeaning.net/ With audio samples.

Author's abstract:
This project aims at establishing an improvisational practice for pianists based on the piano music of the Japanese composer Toru Takemitsu.
Through musical analysis of Takemitsu’s music we seek to point at different compositional practices that can be converted into concrete, pedagogical exercises to be used for teaching in improvisation. Some of the improvisational guidelines are then combined into a complete piece of music, which is subsequently evaluated and used as a basis for a discussion of the further perspectives of the project.
The practical experience so far suggests that this method can be used for:
* encouraging an improvisational approach to interpreting music,
* countering the fear of improvisation among the performers of classical music,
* strengthening the understanding of contemporary music,
* disseminating the knowledge of traditional Japanese music
— and last but not least the project implies the possibilities of creating an artistic musical product in itself.

(f1.1)/ Schlicht, Ursel: "I feel my true colors began to show". Designing and teaching a course on improvisation", Critical Studies in Improvisation vol 3, no 2, www.criticalimprov.com, 2007.
  A good, detailed description of an improvisation course at Ramapo College of New Jersey (14 times 3 1/4 hours).

(f1.1)/ Stenger-Stein, Gabriele: "Spontaneität und Wachsamkeit. Improvisation - als Weg und als Ziel? Improvisation im Instrumentalunterricht, i Ringgespräch über Gruppenimprovisation, März, 2000.

A large collection of exercises included.

F2 MISCELLANEOUS WRITINGS

(f2)/ See also Funk-Aydemir (g3;2006)

(f2)/ Rüdiger, Wolfgang; Gagel, Reinhard (ed.): Ensembleleitung neue Kammermusik. Dokumentation und Arbeitshilfe des Modellprojekts, Bonn (VdM Verlag - www.musikschulen.de) 2004.

An important section of the book features presentations by 13 participants - written versions of those given at the course, many of them with excellent ideas and detailed accounts of methodical work.

In addition, the book contains lists of relevant open works for educational use - recent ones, composed after 1990 - both for specific instruments and for open ensemble. They come with annotations making it possible to judge whether they might fit into specific needs and with contact information about composers and publishers. Various documenation of information material, press articles and short biographies and contact information of contributors make up the last part of the book.

This is an inspiring account of what can be done through training of dedicated professionals, along with being a useful book for practioners by virtue of the good ideas and proposals as well as the bibliographical lists of playing material. For those engaged in improvisation and creative cooperation in performance of music in general, it can be especially delightful to experience a new music context taking this dimension as the real basis and working on it in depth while at the same time also taking inspiration from detailed studies of the important cultural context of new music. It avoids the pitfalls of accepting the dogmas of metric note-writing as the only notation and of the isolated composer - which might entail a bias towards a passive listeners' role since this could limit practical playing a lot.

An interesting detail to mention could be the long list of characteristics of "New music in its improvised and compositional variety" that came out of common discussions during the second period (p.13). It could be a possible source of inspiration for cultural and educational strategies. The beginning reads:

"- associates to basic human experience and makes people sensitive for them. It makes them conscious and structures them into an artistic form; because of this, it can also be perceived as fascinating within everyday life.

- takes up basic body expression with which every human comminicates since being born: breathing, voice, gesture, body movement etc..." (...)"

Contributors other than the editors were: Geisenberger, Beate; Guntermann, Fred; Grümmer, Ulla; Hinz, Sylvia; Krauss, Hans; Jones, Ivan; Laubenberger, Jutta; Loof, Birgit; Nessling, Lisa; Karstens, Thomas; Schmoeckel, Stefanie; Schreiber, Gudula; Schelski; Uhl, Stephan.

(f3)/ Nomura, Makoto; Nankivell, Hugh: Whaletone Opera. A 21st Century Musical Journey. With texts in both English and Japanese and 3 CDs documenting one of the performances, Ogawara (Japan) (Ezuko Hall - www. ezuko.com) 2007.
  A large-scale work which was created with participants of varying ages. Both simple songs and recipes of improvised soundmaking following the drama appear. "Whaletone scale" is a variant of the wholetone one.
  This book serves both as documentation of the performances and as a score for possible future performances initiated by readers. Instructions are, however, often of a sketchy kind, but there is enough flecibility to change them according to own ideas. Also, one can imagine the use of the book as inspiration for the readers' own projects, whether small or big.

G. WRITINGS ON IMPROVISED MUSIC

G1.1 GENERAL SURVEYS AND
GENERAL HISTORY

(g1.1)/ Beck, Sabine: "Prinzipiell vielseitig. Vinko Globokar, "New Phonic Art" und die Improvisation der sechziger und siebziger Jahre", MusikTexte 115, November, 2007.
  This article is a comparative study describing bvery clearly the different characteristics and ways of working of New Phonic Art, Nuova Consonanza, Musica Elettronica viva, AMM Music, Music Improvisation Company and the Scratch Orchestra - all well-known improvisation groups of the sixties and seventies.

(g1.1)/ Jenkins, Todd S.: An Encyclopedia of Jazz and Free Improvisation, Westport, Conn. / London (Greenwood Press) 2004.

The chapter "The Path to Freedom" has a good, detailed account of new jazz developments from the American perspective, extending into European free music, making it an important writing on these parts of music history. Credit is also given to backgrounds in experimental composition, although probably with a few misunderstandings of the role of Cage who seems in practise to be rather unknown to the author - he states, for instance, that he used "aleatoric (chance) procedures such as hand signals or cue cards" (p.xxxiv)

(g1.1)/ Polaschegg, Nina: Verflechtungen. Zur Neubestimmung des Verhältnisses von Komposition und Improvisation", MusikTexte 114, August, 2007.
  In music history writing after 1950, two tendencies are usually attributed a paradigmatic role: on one hand, serialism and its counterreaction, and on the other hand aleatoric techiques and other strategies of opening up the work. "On one hand, these tendencies re-thought principal possibilities of the musical work in a radical way and appeared therefore necessary and revolutionary, but they have had no proper succession" (p.34). A view that sees them as the only ones suppresses or marginalizes the fact that they were only a part of the total picture of tendencies away from traditional concepts of music, musician and musical work. Improvisation played animportant role here, and there has been a continuous development ever since it was re-invented in the fifthies and sixties. For the first generation, improvisation was conceived of in terms of being a new discovery - be it in contrast to composition or as an extension of composition. The second generation views improvisation and composition as different aspects of one and the same music. This may also be named the second improvisation renaissance, of which improvising composers Richard Barrett, Wolfgang Mittlerer, Michael Maierhof, Karlheinz Essl and Bernhard Lang can be mentioned as representatives.
  Various collective-like groupings were formed by composers of the first generation. At the same time, musicians from both new music and jazz genres strove towards re-inventing improvisation. Thus, such re-invention took place simultaneously in two cultures.
  In order to understand characteristics of the second renaissance, one should know about the first one too, since the second generation took up ideas, models and strategies from the first one.
  The article provides descriptions of the first generations groups Nuova Consonanza, Musica Elecctronica Viva and New Phonic Art which represented the 'new definition' of improvisation in relation to the 'canonic' new music. AMM represents an attempt of such new definition beyond both composed music and jazz. Cornelius Cardew appeared then as a special case, both utilizing improvisation as a composer and acting as an improvisor. In this way he was standing between two worlds and became an immediate forerunner of the second generation. His "Treatise" received special, detailed commenting here. Also Earle Brown, Barry Guy, Alexander von Schlippenbach, Anthony Braxton and Bob Ostertag have sections devoted to them.
  There are also additional sections ("Er-improvisierte Komposition" and "Kompositionen/Konzepte für Improvisatoren" which discusses and details some ways in which composition is now accepted among improvisors and how composition and improvisation have been combined.

g1.1/ Riikonen, Hannu T.: 1960 luku ja uusi tapa improvisoida. Nykymusiikin improvisaatioliikkeen piirissä vallinneista improvisaatiokäsityksistä. [1960's and a new way to improvise Concepts about improvisation among the contemporary music' improvisation movement]. Lisensiaatintutkimus. Turun yliopisto, Taiteiden tutkimuksen laitos, musiikkitiede, huhtikuu 2000. Licentiate dissertation, Turku (Finland), 2000. Turku University Library. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.
  Title of this licentiate paper means "1960 and a new way to improvise - Concepts about improvisation among the contemporary music's improvisation movement".

g1.2/ Gränslöst. Magasin för samtida musik., 1995-2000. Please see the 1945-1999 bibliography in which this item has been listed.

g1.2/ Hurly Burly, 1997-2001. Please see the 1945-1999 bibliography in which this item has been listed.

g1.2/ Rubberneck, 1985-2000. Please see the 1945-1999 bibliography in which this item has been listed.

g1.3/ The Wire, 1982-. Please see the 1945-1999 bibliography in which this item has been listed.

(g1.2)/ Arroyas, Frédérique; Heble, Ajay; Waterman, Ellen (ed.): Critical Studies in Improvisation, www.criticalimprov.com, 2004-.
  From the editorial of the first issue: "...a peer reviewed, interdisciplinary, open access electronic journal. Ours is, as far as we know, the first journal to provide an academic forum for a developing critical field that accents the social implications of improvisational musical practices. Indeed, while improvisational music has historically been analyzed within the context of various musical disciplines, what distinguishes the research we aim to profile in CSI/ÉCI is precisely its emphasis on musical improvisation as a site for the analysis of social practice... The idea for Critical Studies in Improvisation/Études critiques en improvisation comes in large measure out of the research activities associated with the Guelph Jazz Festival colloquium...". The editors signing this are associated with the University of Guelph, Canada. Articles appear both in HTML and pdf.

(g1.2)/ www.onefinalnote.com. Jazz and improvised music webzine, 2000-2007.
  Online American based magazine with "features" (articles) and a large number of CD reviews. Contents are at the time of writing this (2008) still available at the URL, and there is a useful "archive" function making all material available. An alternative location to find the material, should it vanish one day, could be the search engine www.gigablast.com, searching un the URL and using the "archive" function.

G2.1 DOCUMENTATION, REPORTS AND DISCUSSION CONCERNING SPECIFIC IMPROVISORS, GROUPS, WORKS, EVENTS, TENDENCIES

(g2.1)/ See also Lukoszevieze (2003;G2.1).

(g2.1)/ See also Schwabe (2001;G5).

(g2.1)/ See also Stockhausen, Hintzenstern (a2.2)

g2.1/ Bell, Clive (ed.): LMC...the first 25 years. Resonance 8:2 + 9:1 (double issue, with double CD), special issue on London Musicians' Collective, 2000. LOGOS BRIT.LIBR. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Furnell, Rebecca: Declaring Independence: New Experiments and the Political Music of Frederic Rzewski. MA Thesis, Univ. of Manchester, 2000.

About Rzewski and Cardew (Rzewski advised Cardew not to do the Treatise project) and Sound Pool Events.

(g2.1)/ "Person [memories and obituaries concerning Peter Niklas Wilson]", MusikTexte 99, Dezember, 2003.

Contributions by many improvisors and others.

(g2.1)/ "Person [memories and obituaries concerning Peter Niklas Wilson]", MusikTexte 99, Dezember, 2003.

Contributions by many improvisors and others

(g2.1)/ Anderson, Christine: Review: "Torsten Wagner und Nuova Consonanza", Musiktexte 103, August, 2004.

g2.1/ Bell, Clive (ed.): LMC...the first 25 years. Resonance 8:2 + 9:1 (double issue, with double CD), special issue on London Musicians' Collective, 2000. LOGOS BRIT.LIBR. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Bergstrøm-Nielsen, Carl: "Offene Komposition und andere Künste". Bidrag til "Themenschwerpunkt: Improvisieren nach Konzepten", ringgespräch über gruppenimprovisation LXVIII, juni, 2002.

About the activity in Danish Group for Intuitive Music and other similar groups as well as in the teaching at Aalborg University. Discussion of this composition form.

(g2.1)/ Collins, Nicolas (ed.): "Not nescessarily English Music", special issue Leonardo Music Journal 11, 2001.

In his introduction, the editor describes experimental tendencies of the UK since 1960 and on as a "golden age". There was a lively and independent activity both in free jazz and other kinds of experimental music, and a distinctive feature was its pluralism, which disregarded former distinctions between high and low art, composer and performer, and more. The movement was uncommercial, and it needs to be better documented.

Below, selected articles are summarized.

In "The arrival of a new musical aesthetic: Extracts from a half-buried diary", Eddie Prèvost, himself an important figure in the development of improvised music, outlines a personal outlook. This touches on influental groupings such as Spontaneous Music Ensemble, Music Improvisation Compay, AMM, Cornelius Cardew and John Tilbury. Tilbury introduced American indeterminate music to English audiences and Cardew's background in conservatory studies and activity himself as a conservatory teacher also contributed to exchange on various levels. Further, The London Musician's Cooperative [not the same as London Musician's Collective but perhaps a forerunner], associated with The Little Theatre Club and the names of Derek Bailey, Even Parker, John Stevens, Trevor Watts, Paul Lytton, Tony Oxley, Howard Riley and Barry Guy - as well as the Scratch Orchestra.

Matthew Sansom, in "Imagining music: abstract expressionism and free improvisation", views free improvisation from the side of composed experimental music in its general development and draws parallels to abstract expressionism in painting and its forerunner, surrealism.

Hugh Davies accounts for the history of the live electronic music ensemble Gentle Fire in "Gentle Fire: An early approach to live electronic music". This group played mainly open compositions by a variety of composers. Verbally notated cokmpositions by Stockhausen (and Sternklang) were among them, and there was a special collaboration with this composer, Davies having been his assistant earlier. The importance of this ensemble for the open composition music form is illustrated by the fact that a total of 28 different composers were performed (including ones by ensemble members but excluding collective compositions by the ensemble), and 100 works with 245 performances during the lifetime of the group 1968-1974. This article is a fascinating account of this group's career which includes also many details of the historical context. - A composition being typical of the group spirit, according to the author, by Graham Hearn is stated in extenso.

Stuart Jones, in "Making it up as you go along", reflects on his musical career in the ensembles Gentle Fire, British Summer Time Ends and Kahondo Style. This includes also reflections on the nature of pluralism, the mixing of styles: in Gentle Fire, as coming out of a love of "surreal conjugations and juztapositions" that might be akin to British stand-up comedy; later, as from simply following their liking for the popular music they had also played (cf. the editor's remarks on pluralism cited above!).

David Toop introduces the enclosed two CDs with personal memories, "Not necessarily captured, except as a fleeting glance". The variety of experimental music from 1960 and on is also reflected on - the spirit of postwar times he characterizes as "a kind of cultural and political anarchy", on the background of the war that had ended, but within the security of a stable society. That led to "collapsing boundaries" between the various experimental tendencies, and between high art and pop. The Portsmouth Sinfonia lead by Gavin Bryars who was a lecturer at the Portsmouth Art College then, is mentioned. The orchestra often appeared "hilarious" with its seemingly wretched renditions of popular classic excerpts, yet its basis was a serious playing to the best of each one's ability - a pluralist phenomenon.

Finally, there is a section (of seven) pages which, almost slightly encyclopedia-like, provides detailed information on the musicians and the music. Examples of such detailed small articles include the one on The People Band, and the one describing a group composition by Gentle Fire.

Other than by the authors mentioned above, there are also articles by: Doriún Casserley; Alvin Lucier; Scanner; Janek Schaeffer and Joe Banks.

(g2.1)/ Corbett, John: Booklet article, Sounds 99, 3 CD-set Blue Tower Records BTCD 09/10/11, 2000.

Interesting remarks about nations and clichès. "according to this set of clichees, Germans were the power blowers, the Dutch the theatrical ironics, the British some sort of anal-compulsive abstract sound manipulators...there's been plenty of flux, with the Brit Steve Beresford adopting "Dutch" cgharacteristics, and Germans like Wolfgang Fuchs utilizing more "British" aesthetics, and so on" (p.16).

(g2.1)/ Curran, Alvin: "...todesverachtend, lebensbejahend, extasesuchend...". Special issue Improvisation, MusikTexte 86/87 November, 2000.

Historical notes about an important Italian music phenomenon of the seventies and on, Musica elettronica Viva.

(g2.1)/ Decroupet, Pascal: "Vers une theorie generale", MusikTexte 98, August, 2003.

Includes analysis of Mobile by Henri Pousseur and other works - there are mutual reactions, listening pauses, modifying what you play next according to what you have heard.

(g2.1)/ Feisst, Sabine: "Etwas Unvorhersehbares tun. Zur Bedeutung der Improvisation bei Cage", MusikTexte 106, August, 2005.

Lecture examining the relation of Cage to improvisation, held at conference "New Directions in the Study of Improvisation", Univ. of Illinois 2004 (org. by Bruno Nettl and Gabrioel Solis). The author previously wrote about this subject in her book Feisst (1997;G1.1)

(g2.1)/ Eley, Rod: A Short History of the Scratch Orchestra, in: Cardew, Corneilus: Stockhausen serves imperialism, at www.ubu.com, 2004.
  Originally published in 1974 (London, Latimer), this is a critical book in which Cardew and others take their new stand against the playful avantgarde activity of the Scratch Orchestra till then and for an orthodox Marxist position. This essay contains also some information about events and tendencies within the orchestra.

g2.1/ Jost, Ekkehard: Free Jazz. Graz, 1974. Reprinted 2003, Part of a series: Beiträge zur Jazzforschung; 4. Please see the 1945-1999 bibliography in which this item has been listed.

(g2.1)/ Kager, Reinhard: "Spontaneität versus Reproduktion. Einige Gedanken zur Situation des Improvisierens heute", MusikTexte 111, November, 2006.

Mainstream jazz is critisized for having a reproductive attitude and thus having alienated itself from the former creative spirit of jazz. As positive developments the author sees the use of computers in freely improvised music and interest in improvisation from classical avantgarde composers. Reference is made to Adorno, Berendt, Noglik, Lewis and Wilson.

(g2.1)/ Kager, Reinhard: "Elektronische Impulse. Über die Bedeutung des Computers in der improvisierten Musik", 'MusikTexte 115, November, 2007.
  Comments and quotings by musicians who share the view that the computer is becoming just another instrument in improvised ensemble playing.

(g2.1)/ Karkoschka, Erhard: "Aspects of Group Improvisation", http://www20.brinkster.com/improarchive/ek.htm 1971 (transl.2004).

Translation from German of the classical article by Erhard Karkoschka from 1971 on improvisation as a liberating experience seen from a composer's point of view. (g2.1)/ Lukoszevieze, Anton: "Die Welt als Musik durchwandern" - "Nahezu komplettes annotiertes Werkverzeichnis Philip Corner", MusikTexte 99, December 2003.

The last title contains a list of verbally and graphically notated works by this Fluxus-orientated composer which is comprehensive and annotated - among other things, instrumentation and notation are stated.

(g2.1)/ Lekfeldt, Jørgen: "Som tiden går - portræt af Carl Bergstrøm-Nielsen", Dansk Musiktidsskrift 2, oktober + 3, november, 2001/02.

Examines and analyses selected work dealing with improvisation in various ways, among others Quadrivium for piano (1972), Mimesis I for wind quintet (1974), Postcard-Music (1976), pieces from "improvisationskalender" (1996) and Frameworks (2000f). Includes lists of selected works, of recordings and of selected writings on music (especially in Danish).

(g2.1)/ Metzner, Susanne: "hear and everywhere", Einblicke 13, 2002.

Accounts of a course at Magdeburg. Participants worked independently of each other and communicated via a billboard

(g2.1)/ Meyer, Thomas: "Über das Verfertigen von Präludien. Eine Gebrauchskunst zwischen Komposition und Improvisation", Neue Zeitschrift für Musik. Tema-nummer om improvisation. No. 4, Juli/August, 1999.

On historical improvisation guides by among others Clementi, Couperin, Gretry, Telemann, Kalkbrenner.

(g2.1)/ Martha Mockus: Sounding Out: Pauline Oliveros and Lesbian Musicality. New York (Routledge) 2007.

This book examines the influence of lesbian comminities and "second wawe feminism" on Oliveros' work. Sonic Meditations has been devoted a chapter for itself. More about itin the review by Tracy M. McMullen in Critical Studies in Improvisation, Vol.4, no.2, 2008.

(g2.1)/ Nonnenmann, Rainer: "Wanderer, kommst du nach...?", in: MusikTexte 102, August, 2004.

Includes a discussion of problems with late works by Nono which were written in close collaboration with musicians. They remain bound to those specific persons and are hard to approach by others - the know-how remained implicit with Nono and those musicians.

(g2.1)/ Parsons: The Scratch Orchestra and Visual Arts, Leonardo Music Journal 11,1, 2001.

Contains good, detailed accounts of the history of the Scratch Orchestra. Also activity of Portsmouth Sinfonia and Fluxus is treated

(g2.1)/ Pfleiderer, Martin: "Herausforderung. Der englische Saxophonist John Butcher", MusikTexte 86/87 november, 2000.

(g2.1)/ ringgespräch über gruppenimprovisation LXVIII, June, 2002.

Speciel issue on improvisation following recipes. Various exercises and pieces are quoted around in this issue.

g2.1/ Rutherford, Paul: Telephone conversation with Paul Rutherford, 4/5, 2000. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

g2.1/ Schwabe, Matthias: "Carl Bergstrøm-Nielsen: From the Danish Seasons" in: Ringgespräch über Gruppenimprovisation, März, 2000. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Sutherland, Roger: "The Death of the Scratch Orchestra: A Personal Account", Noisegate 8, 2002?.

A very good contribution to the historical account; provides various details.

(g2.1)/ Trudu, Antonio: "Randbemerkungen zu Franco Evangelistis Schriften", Muenz, Harald (ed.): "...hin zu einer neuen Welt. Notate zu Franco Evangelisti, Saarbrücken (Pfau) 2002.

P. 33: "1964 he was a co-founder of the improvisation group Nuova consonanza and wrote the following: "It was perfectly clear to me that, taking variants of material as the basis, one could also extend variability to the form: the open work, through which I came to GNIC, is an extreme limit of Western music, but also a return to the origin". Quoted from Nuova Consonanza nel mondo italiano oggi, in: Marcatré, no. 16, 17, 18, 1965, p. 231f.

(g2.1)/ Wagner, Thorsten: "Improvisation als "weiteste Ausdehnung des Begriffs der aleatorischen Musik". Franco Evangelisti und die Improvisationsgruppe Nuova Consonza", Muenz, Harald (ed.): "...hin zu einer neuen Welt. Notate zu Franco Evangelisti, Saarbrücken (Pfau) 2002.

About the legendary Italian improvisation group Nuova Consonanza. It was founded winter 1964/65 and was designed to consist solely of composers. In the group, musical works were still cultivated, but open ones. From 1963 (La Scatola) till 1979 Franco Evangelisti did not compose, because he was critical to restauration tendencies. He worked in these years with the improvisation group and with pedagogical electronic music activity

(g2.1) G3, G2.1 og HENVISNING FRA G2.5/ Wagner, Thorsten: Franco Evangelisti und die Improvisationsgruppe Nuova Consonanza. Zum Phänomen Improvisation in der neuen Musik der sechziger Jahre, Saarbrücken (Pfau), 2002.

(g2.1)/ Watson, Ben: Derek Bailey and the Story of Free Improvisation, Sabon, Essex (Verso) 2004.

Biography. With a large index comprising many names and concepts

g2.1/ Watts, Trevor: Mail-correspondance with Trevor Watts, May, 2002. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Wilson, Peter Niklas: "Segen der Konzeptlosigkeit". das Berliner "Zeitkratzer"-Ensemble, MusikTexte 93, Mai, 2002.

(g2.1)/ Wilson, Peter Niklas: "Neue Paradigmen in der Improvisierten Musik. Ein Vortrag beim Achten Darmstädter Jazzforum", MusikTexte 99, Dezember, 2003.

Deals with forms of improvised music which are not connected to jazz and with "reduction" as a keyword with improvisors Burkhard Stangl and Andrea Neumann et al.

(g2.1)/ Wilson, Peter Niklas; Polaschegg, Nina: Bildende Kunst und improvisierte Musik, MusikTexte 103, August, 2004.

G2.2 STOCKHAUSEN

(g3)/ See also Jahn (2006;E2).

(g2.2)/ Bergstrøm-Nielsen, Carl: Fixing/Circumscribing/Suggesting/Evoking. An analysis of Stockhausen's text pieces.
www.stockhausensociety.org/intuitive-music.htm, 2006.

Analytical examination of the 31 pieces in Stockhausen's work collections. Close attention is given to the different degrees of precision or directness employed by the composer in describing the musical material. Such degrees were worked out by the composer on the background of serial principles. This repertory thus allows the improvising musician to choose according to his liking how "down-to-earth" or not the playing process should be.

(g2.2) / Toop,Richard: "Versuch, eine Grenze zu überschreiten... Johannes Fritsch im Gespräch über die Aufführungspraxis von Werken Karlheinz Stockhausens", MusikTexte 116, Februar 2008.
  This interview with Johannes Fritsch, who as a musician worked closely together with Stockhausen, provides a useful overview of new forms of performance practise in Stockhausens works: Mikrophonie I and II in which some performers solely operate microphones and in which various shades of noise are prescribed verbally, to be produced with found materials on a large gong; Mixtur, in which two musicians have the sole job of operating sine wawe generators (for ring modulation of ensemble sound); Momente, in which choir singers freely interpreted humurous instructions such as for instance "like an old witch" or "like a baby"; Prozession, Kurzwellen and Spiral with the plus-minus notation and use of short wawe radios; Hymnen, in a version with improvising soloist; Solo for melody instrument with electronic feedback in which - like in many other cases - Stockhausen had the role of sound projectionist, modifying and filtering the output from microphones and machines; Aus den Sieben Tagen (From the Seven Days), the interviewee's view of the recording practise then and details of the collaboration with Stockhausen.

G2.3 ZORN

(g2.3)/ Roussel, Patrice: Discography of John Zorn. http://www.wnur.org/Jazz/artists/zorn.john/discogr.htm, 2000.

http://www.wnur.org/Jazz/artists/zorn.john/discogr.htm

Contains a bibliography as well, and list of videos.

G2.5 WOLFF

(g2.5)/ Wagner, Christoph: "Zwischen zwei Stühlen" (also English version), booklet to Wergo WER 6658 2, Christian Wolff. Bread and Roses, 2003.
  This is a brief interview which nevertheless provides important information on Wolff's Edges having been inspired by the English context (AMM and Cardew) and his relation to improvisation.

(g2.5)/ Wilson, Peter Niklas: "Neue und alte Spiele / New and old Games", booklet to Wergo WER 6658 2, Christian Wolff. Bread and Roses, 2003.
  General presentation focusing on one of the works featured on the CD (in 10 different takes!): For 1, 2 or 3 people.

G3 GENERAL PHILOSOPHY, AESTHETICS, MUSIC THEORY AND MUSIC ANALYSIS

(g3)/ "Med eller uden kaos", Dansk Musiktidsskrift 6, marts, 2002/2003.

About the festival Stockholm New Music 2003 which focuses on composing musicians and composers who are musicians themselves. "You have to see the musician as an artist and not just as a tool", Ivo Nilsson stated (p.201). The entailing discussion is summarized.

(g3)/ Bergstroem-Nielsen, Carl: "Sound is multi-dimensional. Parameter analysis as a tool for creative music making" - URL TILFØJES, 2006.

33 pieces for improvising ensemble based on the author's teaching at Aalborg University, Denmark. Compositions were created as part of the training in improvisation and formulation of playing rules. They employ selected global parameters, allowing participants to play from the score in a heterophonic manner. Verbally prescribed parameter changes and graphic/pictorial illustrations are further characteristics. Additionally, history and theory of parameter analysis is accounted for.

(g3)/ Ehrler, Hanno: "Musik im gebogenen Raum. Der Leipziger Musiker und Komponist Erwing Stache", MusikTexte 92, Februar, 2002.

In characterizing this composer, reference is made referring to Fritsch (1997;G3) among others.

(g3)/ Engström, Andreas (ed.): Special issue on improvisation, Nutida Musik 2, 2005.

(g3)/ Fischlin, Daniel; Heble, Ajay (ed.): The Other Side of Nowhere. Jazz, improvisation and communities in dialogue, Middletown, Connecticut (Weslyan University Press) 2004.

This book includes contributions from speakers and musicians who have participated in the Canadian Guelph Jazz Festival (near Toronto). Scholars from USA, however, also play an important role, and main emphasis is on Cultural Studies from a black perspective. Contributions are grouped in four categories: Performers Improvise - Between and Across Cultures - Social Practise and Identity - Collaborative Dissonances. George Lewis is professor of "Cultural Studies / Experimental Practises Area" at San Diego University (UCSD) which seems to have become a center for improvisation studies. His "Improvised Music after 1950: Afrological and Eurological Perspectives" is reprinted with a newly written afterword commenting "...The Changing Same". In an article by the editors bearing the same title as the general title of the book, Stephen Nachmanovitch and Tom Nunn are adressed critically: "... in their haste to promulgate arguments about improvisation as a life-strategy for expressions of individuality, originality and creativity, they fail to account for the ways in which jazz improvisation and creative improvised music have always.. been about community building (rather than individual self-expression), about fostering new ways of thinking about, and participating in, human relationships (p.23). An article by Julie Dawn is devoted to the Feminist Improvising Group in the London seventies, making apparent the historical background of the later well-known trio Les Diaboliques with two of the former members - Maggie Nicols, Irene Schweizer plus Joëlle Leandre. Eddie Prèvost who is the only participant here from Europe, recalls the ciscussions during the seventies with Cornelius Cardew and expresses a sceptical opinion on using music "to help fly a political banner" (p.356) and advocates instead a general critical attitude to market conditions which make it difficult to develop in any larger scale the idea of responsible teamwork taking place in improvised music. - The book includes short biographies of contributors and a large bibliography of roughly 500 titles, plus a "webography". Contributors other than those alredy mentioned: Ingrid Monson; Michael Snow; Pauline Oliveros; Dana Reason; Jason Stanyek; Michael Essen; Mark Anthony Neal; Sherrie Tucker; Marshall Soules; Krin Gabbard; Michael Jarrett; Nathanael Mackey; John Corbett and Benjamin Lefebre.

(g3)/ Funk-Aydemir, Roswitha: "Gut hören, frei spielen. Kurse freie Musik in Kassel", Ringgespräch über Gruppenimprovisation LXXI, Oktober 2006.

At the end of this report from a workshop with Rike Kohlhepp and Thomas Reuter, examples of pre-forming of improvisations done by agreeing on a few characteristics are stated. This is a greyzone area between composition and improvisation worthy of much more study.

(g3)/ Hodginson, Tim: "A rich field of possibilities: strategies and indeterminacy in free improvisation", Resonance 8,1, 2000.

The possibilities arising is a part of the improvising process, even when they do not come to use. Good essay on aesthetics.

(g3)/ Kösterke, Doris: "Was ist Qualität?", ringgespräch über gruppenimprovisation LXVII, juni, 2001.

Considerations taking as their basis the novel by Pirsig, Zen and the Art of Motorcycle Maintenance. Quality lies in the relation between the beholder and the object.

(g3)/ Lind, Rikke: "Improvisation". Klassisk musik. DR's magasion om livet i musikken og musikken i livet, nr. 5, maj, 2003.

Harpsichordist and conductor Lars Ulrik Mortensen deals with improvisation in earlier times and in music history and states that historic music practise has re-established improvisation and in so doing made it possible to have more improvisation teaching at conservatories.

(g3)/ Linnros, David: "Ständigt flöde - improvisationen och sökandet efter friheten", Special issue on improvisation, Nutida Musik 2, 2005.

Resaon and Nature may appear as enemies, reason having become totalitarian and one-sided - according to Adorno/Horkheimer. Friedrich von Schiller, who built on ideas from Kant, asserted that sensibility cannot be simply subsumed under reason. Solely when they interact, humans can realize their potential: "Only when [the human being] changes, it EXISTS, only when it remains unchanging IT exists", says Schiller. So, "without form no matter, without matter no form". Applying these reflections to music, the author concludes that the concepts of improvisation and composition represent abstract principles, hence they are not very informative. Therefore, he recommends that discussion be focused on the actual potentials and limitations of the music in question.

(g3)/ Lucier, Alvin: "An einem hellen Tag. Avantgarde und Experiment", MusikTexte 92, Februar, 2002.

Critique, among other things, of a practise of playing cue-music by Wolff from fixed versions.

(g3)/ Lundman, Tony: "Med eller uden kaos", Dansk Musiktidsskrift 6, marts, 2002/2003.

About the festival Stockholm New Music 2003 which focuses on composing musicians and composers who are musicians themselves. "You have to see the musician as an artist and not just as a tool", Ivo Nilsson stated (p.201). The entailing discussion is summarized.

(g3)/ Scheib, Christian: "Filter, Struktur, Speicher. Improvisation: Aktuelle Momentaufnahme aus einer Zwischenwelt in einer Zwischenzeit. Fallbeispiel Österreich", in: Neue Zeitschrift für Musik, Heft 3 (Juli/August) p.18-21, 1999.

Article which inspired Peter Niklas Wilson by looking beyond the opposition of composition / improvisation.

(g3)/ Schwabe, Matthias: "Musik von der Quelle. Über musikalische Qualität im Allgemeinen und improvisatorische Qualität im besonderen", ringgespräch über gruppenimprovisation LXVII, juni, 2001.

The author makes reflects thorougly on the issue of musical quality with empirical descriptions as the starting-point. Sounding together and playing together are concepts describing essential, specific characteristics according to him.

(g3)/ Schneider, Hans: "Klangnetze oder Kunst als Erfahrung der Horizont-Erweiterung und der eigenen Veränderbarkeit", in: Schneider, Hans (Hg.): Klangnetze: ein Versuch, die Wirklichkeit mit den Ohren zu erfinden, Saarbrücken (Pfau) 2000.

Touches upon the issue of improvisors dealing with combining their own worlds with the multitude of what is outside of it.

(g3)/ Stangl, Burkhard: "Schall, Schrift und Schallschrift", in: Schneider, Hans (Hg.): Klangnetze: ein Versuch, die Wirklichkeit mit den Ohren zu erfinden, Saarbrücken (Pfau) 2000.

Deals with various aspects around writing, "orality" and media.

(g3)/ Stryi, Wolfgang: "Ein Garant für die Intensität.. Heiner Goebbels im Gespräch". Special issue Improvisation, MusikTexte 86/87 November, 2000.

This lecture deals with music as connected to short- and long-term memory. Since improvisation is open to the unexpected, it may provide an opportunity to play with cause and effect - to turn their relation upside down, like in dreaming. The egalitarian aspect of music pracitise is seen as conncected to the here-and-now aspect

(g3)/ von Kieseritzky, Herwig von: "Zwischen Alltagserfahrung und ästhetischer Vermittlung. Musikalisch-szenische Konzepte - Überlegungen und Beispiele". Bidrag til "Themenschwerpunkt: Improvisieren nach Konzepten", ringgespräch über gruppenimprovisation LXVIII, juni, 2002.

This is a good treatment of the intermidiary area between composition and quasi nothing - that is, agrements made by improvisors. An important issue which has not yet had the amount of focus it deserves.

(g3)/ Wilson, Peter Niklas: "Rekonfigurationen. Komposition und Improvisation", MusikTexte 86/87 november, 2000.

On the greater visibility of improvisation in concert life in recent years. Good, full discussion of form concepts, with interesting quotations from musicians. On well-known indetermination aesthetics within new music as a sign that opposites are becoming relative. A fine summing up of this authors' insights till now.

(g3)/ Wilson, Peter Niklas: "Tendenz zur Kanonbildung", ringgespräch über gruppenimprovisation LXVII, juni, 2001.

An attempt to describe the norms and expectations concerning freely improvised music.

G4 PSYCHOLOGY

g4/ Nachmanovitch, Stephen: Free Play. Improvisation in Life and Art. N.Y. (Jeremy P. Tarcher/Putnam, a member of Penguin Putnam Inc.), 1990. Swedish translation: Spela Fritt. Improvisation i liv och kunst, Göteborg (Ejeby) 2004. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

(g4)/ Rzewski, Frederic: "Autonomie des Augenblicks. Eine Theorie der Improvisation", MusikTexte 86/87 November, 2000.

The author associates improvisation and composition with short- and long term memory. He views it as having central importance that improvisation is open for the unexpected - a possibility for playing with turning the cause-effect relation upside down in a dynamic manner. Also the aspect of here-and-now is associated with the egalitarian aspect.

G5 MISCELLANEOUS WRITINGS

(g5)/ Bruun, Peter og Andersen, Frode: "Noderne på papiret er ikke musik", Dansk Musik Tidsskrift 4, november, 2000/01.

The line of thought may be summarized approximately like this: music is a rather autonomous thing and expresses time.

(g5)/ Gagel, Reihard; Joachim Zoepf (Hrsg): Können Improvisatoren tanzen?, (Wolke Verlag) 2003.

Documentation from the Symposium Improvisierte Musik in Köln, 21-23. January 2000. With a CD. Contributions by among others: Gagel, Felix Klopotek, Peter Niklas Wilson ("Rekonfigurationen", on improvisation and composition approaching each other institutionally and structurally), Johannes Fritsch ("Improvisation und Extase", comparing improvisation with myth and posing the question about what to do with negative music experiences) and a manifesto by Wolfgang Schliemann and Joachim Zopf, "Improvisierte Musik - Ars sui generis".

(g5)/ Gronemeyer, Gisela; Oehlschlägel, Reinhard (ed.): Special issue Improvisation, MusikTexte 86/87 November, 2000.

Also to be mentioned, in addition to those articles having separate entries: "Improvisation als Herausforderung. Der englische Saxophonist John Butcher" (Martin Pfleiderer) [mentions among other things Chris Burn's Ensemble]. - Other interviews deal with composers and their relation to improvisation: Anthony Coleman, Wolfgang Mitterer, Peter Eötvös, Héctor Moro and Bernd-Alois Zimmermann. Trescher's important analytical article about Cardew's Treatise was already included in my large bibliography as an exception, even if the date is later than 1999 (Trescher 2000;E2).

(g5)/ Hamel, Peter Michael: "Improvisationsformen. Zwischen Experiment und Werkanspruch, Heilkunde und Sozialarbeit, Volks- und Musikhochschule"in: MusikTexte 100, Februar, 2004.

Historic memories around "Freies Musikzentrum", established in München 1979. The author mentions among other things John Cage's critical attitude towards improvisation and the role of Tonius Timmermann for the development of music therapy.

(g5)/ Schwabe, Matthias: Interview med Michael Vetter, ringgespräch über gruppenimprovisation LXVII, juni, 2001.

Various information about an important German improvisor. Reflections about the specific quality of improvisation.

(g5)/ Steen-Andersen, Simon: "Improvisation. Uddrag af en samtale mellem komponisten og guitaristen Christian Billian og Simon Steen-Andersen", Autograf XI, 2, november, 2002.

Interview with some remarks on improvisation.

(g5)/ Wilson, Peter Niklas: "Rekonfigurationen. Komposition und Improvisation", MusikTexte 86/87 November, 2000.

The author begins with statements about the greater visibility of improvised music in concert in recent years. There is a good, full discussion of form concepts, with interesting musicians' quotations. Also the overlapping of composers' improvisors' roles and their difference after all is treated here. This article is a very good summarizing of the insights till now of this author.

H. OTHER WRITINGS.

H1 GENERAL ACCOUNTS OF MUSIC HISTORY, DEALING THOROGHLY WITH THEMES CONCERNING NEW NOTATION FORMS AND/OR IMPROVISATION

(h1)/ Cox, Christoph; Warner, Daniel (ed): Audio Culture: readings in modern music, USA (Continuum) 2004.

This is a comprehensive sourcebook covering various aspects of experimental music, including improvised music.

A section on "The open work" features texts by composers John Cage, Earle Brown and Anthony Braxton as well as an interview with John Zorn. The three latter texts have not been described by this author before, and the availability of general remarks by Braxton about how to deal with his pieces is a valuable thing. The Zorn interview is an important one, maybe the most important one till now when it comes to information about the game pieces, since it deals in depth with the evolution of game piece composition over time. It also contains Zorn's declaration that he likes the game pieces to remain unpublished, since personal instruction is important - a decision which on one hand is not very helpful for those wishing to study alternatives to a music tradition being still so deeply fixed to traditional notation. On the other hand this might hopefully provoke some more people to create their own game pieces. Umberto Eco's influential "The poetics of the open work" is represented here, very relevant text to go with texts about open compositions.

In the department for "Improvised musics" one finds texts from Derek Bailey's classic book and texts by Ornette Coleman (documenting the role of free improvisation in his work) and Frederic Rzewski (on improvisation and momory). George Lewis' article on "Afrological and EUrological Perspectives" in improvised music after 1950 is also reprinted.

Other relevant texts to be mentioned in this specific context of improvised music and related could be ones by John Cage and Cornelius Cardew's "A Scratch Orchestra: Draft Constitution".

The chapters come with informative introductions to each chapter. Credit must go to the editors for putting the difference between indeterminacy and aleatory devices right in the introduction to "The open work" and for providing a reasonable, short article on "Visual sounds: Graphic scores". Each chapter is preceded by a collection of interesting quotations. There is also an index and a chronology.

With its compilation of essential and useful texts extending into experimental music generally (including recent developments of DJ culture and electronica) this book is a must for libraries and will be a most useful tool for students. It is also a much needed initiative in bridging the gap between American and European experimental / modern music history, taking in materials from both sides of the Atlantic. May more good discussion and work in this spirit follow...

H2.1 BIBLIOGRAPHIC AND DISCOGRAPHIC LITERATURE

(h2.1)/ See also Fischlin (2004;G3).

(h2.1)/See also Rüdiger et al (2004;F2).

(h2.1)/See also Roussel (2000; G2.3)

(h2.1)/ Sounds99 - inlaybook to LP record,

Includes discographies of those musicians participating in this festival.

(h2.1)/ Zeitschriftendienst Musik,

Index to names and themes for 60 German and other periodicals.

(h2.1)/ Lukoszevieze, Anton: "Die Welt als Musik durchwandern" - "Nahezu komplettes annotiertes Werkverzeichnis Philip Corner", MusikTexte 99, December 2003.

The last title contains a list of verbally and graphically notated works by this Fluxus-orientated composer which is comprehensive and annotated - among other things, instrumentation and notation are stated.

(h2.1)/ Martinelli, Fransesco: Joëlle Léandre Discography, Italy (Vivaldi e Bandecchi) 2002. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

bibliographical and other information

h2.1.1/ Steinauer, Mathias; Wohlhauser, René (ed.): Adesso. Zeitgenössische Musik verlagsunabhängiger Komponistinnen und Komponisten. Partituren - Tonträger - aufführungsmaterial. Katalog 1999/2001, 1999. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

H3.1 LITERATURE ON MUSIC THERAPY

(h3.1)/ Bruscia, Kenneth A.: "Response to the Forum Discussion of The "IAPs" In The Nordic Journal Web-site" in: Nordic Journal of Music Therapy vol. 11, nr. 1, 2002.

Various practical considerations.

h3.1/ Deuter, Martin: "Polaritätsverhältnisse. Zu einer musikalisch-psychologischen Benennung der Improvisation", in: Vermittlungen..musically speaking. Special issue of Einblicke (hrsg. BVM, Berufverband der Musiktherapeutinnen und Musiktherapeuten in Deutschland e.V.). Zum Improvisationsunterricht im Musiktherapiestudium / On Improvisation Training in Music Therapy Training, Heft 12, November, Manus, 2001. Please see the 1945-1999 bibliography in which this item has been listed as a special exception.

H3.2 WRITINGS RELATED TO THE TEACHING OF INTUITIVE MUSIC AND GRAPHIC NOTATION AT AALBORG UNIVERSITY AND OTHER PLACES

(h3.2)/ Bergstrøm-Nielsen, Carl: "Musicoterapia e improvisaciòn libre", Tavira (2a época), Revista de Ciencias de la Education No 19, Cadiz (Universidad de Cadiz) 2003.

(h3.2)/ Gilboa, Avi: Testing the MAP: a graphic method for describing and analyzing music therapy sessions, The Arts in Psychotherapy 34, 2007.
  Authors' abstract: The music therapy analyzing partitura (MAP) is a method that was recently proposed to visually describe and analyze music therapy sessions. The main objective of this study was to examine the method and to see if it was in fact clear and usable to music therapists (MTs). Twenty-six experienced and inexperienced MTs were exposed to a MAP and to a written verbal description of the same session. Under a time limitation, they answered informative questions regarding the session and, in addition, indicated the potential of each of the descriptions to raise and analyze research questions. It was found that MTs could easily understand the MAP code. When using the MAP, they correctly answered significantly more questions in comparison with the verbal condition. MTs indicated that the MAP had better analyzing potential than the verbal description. Suggestions for future development of the MAP, as well as its possible implications to arts therapists at large, are discussed.

H4 MISCELLANEOUS OTHER WRITINGS

Note. In the large bibliography (1945-1999), this was a category also for various literature having been mentioned in the text - even including writings I would directly warn the reader against. In this 2000- list H4 is different: it deals solely with various literature which is directly relevant.

(h4)/ Gagel, Reinhard: Review of Rühle (2007;G4) in: ringgespräch über gruppenimprovisation LXXII, april, 2008.

(h4)/ Gagel, Reinhard: Review of Rzewski (2007;G5) in: ringgespräch über gruppenimprovisation LXXII, april, 2008.

(h4)/ Gronemeyer, Gisela; Oehlschlägel, Reinhard (hrsg): Frederic Rzewski. Unlogische Folgerungen. Schriften und Vorträge zu Improvisation, Komposition und Interpretation, Köln (Edition MusikTexte) 2007.

(h4)/ Christensen, Erik: "Overt and hidden processes in 20th century music", in: Seibt, J. (ed.): Crossdisciplinary studies in dynamic categories, Pr. in the Netherlands (Klüwer Academic Publishers) 2003.
  Describes two different versions of Variations II (1961) by Cage, thus exemplifying how different versions may be.

(h4)/ Christensen, Jean: "New Music of Denmark" in White, John D. (ed.): New Music of the Nordic Countries, USA (u.tr.)(Pendragon Press Musicological series)) 2002.
  In addition to a biographically-oriented dealing with generations of individual composers, some pages deal with experimental tendencies, their organisations and their interaction with mainstream music life and its organistions.

(h4)/ Gagel, Reinhard: anm. af Wilson: Hear and Now, ringgespräch über gruppenimprovisation LXVIII, juni, 2002.
  Review of Wilson (1999;G1.1).

(h4)/ Mörchen, Raoul: "Facettenreiches Phänomen. Peter Niklas Wilson in der "edition neue zeitschrift für musik"", MusikTexte 99, Dezember, 2003.
  Review of the book on reductionism by Wilson. At the back of the issue of MusikTexte in question there is also an advertisement from the publisher including this book.

(h4)/ Scheib, Christian: "Annäherung an das Utopische. Bücher zur improvisierten Musik von Sabine Feisst und Peter Niklas Wilson, MusikTexte 84, Mai 2000", 2000.
  Review of Feisst (1997;G1.1) and Wilson (1999;G1.1). Provides characterisations of the two books and throws them into relief relating them to each other.

OTHER

I. RECORDINGS

Note. Unlike in the large bibliography 1945-1999 which, even on a modest scale, attempted to list varied selections, this is just a residual category listing recordings mostly belonging to some of the items above! The reader is thus referred to other sources - you may for instance consult