| a concert series that only occurs when ...
| (adam overton)
| ... during a brief but regularly scheduled absence
|
| a piece in the style of ... (minus)
| (adam overton)
| ... john cale ... minus john cale
|
| append this
| (Jukka-Pekka Kervinen)
| Open score for any number of instruments.
|
| Aura[l] Studies
| (adam overton)
|
|
| Automorphic Piece for Standing
| (Adam James Davis)
|
|
| "Back into the mixing desk..."
| (Adam James Davis)
| The circulation of signals through the signal paths of a recording studio is the music.
|
Beard Scratch
For CamLab
| (john)
|
|
| beyond that
| (Jukka-Pekka Kervinen)
| Open score for any number of instruments.
|
| Chew Spit Scratch
| (adam overton)
| 3 movements, in order, for Christian Kesten
|
| clippings . 03 Sept 2008
| (adam overton)
| toenails, graphic score for any instrument(s) or action(s)
|
| clippings . 11 Feb 2009
| (adam overton)
| fingernails & toenails, graphic score for any instrument(s) or action(s)
|
| clippings . 14 Oct 2008
| (adam overton)
| fingernails & toenails, graphic score for any instrument(s) or action(s)
|
| clippings . 15 Dec 2008
| (adam overton)
| fingernails & toenails, graphic score for any instrument(s) or action(s)
|
| clippings . 15 Sept 2008
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| clippings . 20 Nov 2008
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| clippings . 28 Oct 2008
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| clippings . 2 March 2009
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| clippings . 30 Sept 2008
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| clippings . 5 April 2009
| (adam overton)
| fingernails & toenails, graphic score for any instrument(s) or action(s)
|
| clippings . early Jan 2009
| (adam overton)
| fingernails, graphic score for any instrument(s) or action(s)
|
| COMPOSED IMPROVISATION ESP
| (Ellen C Covito)
| A musical exploration of quasi-ESP exercises (after V.A.)
|
| COMPOSED IMPROVISATION G
| (Ellen C Covito)
| Stick all the pages of the score together with glue or any other adhesive before the concert
|
| COMPOSED IMPROVISATION J
| (Ellen C Covito)
| An exploration into the primordial contact between the score as text and performer as viewer/reader
|
| date of expiration performance
| (adam overton)
|
|
| Desert Performances (Pamphlet)
| (adam overton)
| a pamphlet of 30 small pieces to perform [or not] in the desert
|
| Difficult Music For Everybody
| (adam overton)
| 4 pieces of difficult music for "everybody", with accompanying essay-miniature
|
| during any piece of mike winter's (light jazz waltz)
| (adam overton)
| for Michael Winter
|
| Either And Or
| (adam overton)
|
|
| Facebook UDP Announcement Garbled Piece
| (adam overton)
| for the launch of this website, i tried to post an event to facebook, and out came this fabulous garbled mess...
|
| Farewell Rituals
| (adam overton)
| four farewell rituals...
|
| For A Year [Or Longer] [Or Shorter]
| (adam overton)
| Three pieces (for Patrick Vaillancourt)
|
| For Dick Higgins
| (adam overton)
| speak for yourself...
|
for electric bassist(s)
&
for rock ensemble
| (adam overton)
| rubbing instruments on exposed flesh, too loud
|
| For Everybody In Attendance
| (adam overton)
|
|
| For Kinah Boto
| (adam overton)
| make it swing...
|
| 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...
|
| fragment 081709
| (Jukka-Pekka Kervinen)
| Open score for any number of instrument(s).
|
| impermanent and disposable
| (Arianne Hoffmann)
|
|
in place of experimental cactus
or
for any experimental beard(s)
| (adam overton)
| in any experimental work involving amplified cactus...
|
| Instructions for an Ideology - Transhumanism
| (Adam James Davis)
|
|
| Interruption Pieces
| (adam overton)
| Create a performance that would neither suffer nor benefit from one or more or all of the following [or other] unexpected "interruptions"...
|
| Introductions For Orchestra Or Large Ensemble
| (adam overton)
| "Hello, my name is ___"
|
| Invisible Performances Pamphlet (Machine Project)
| (adam overton)
| 30 invisible performances ...
|
| Invisible & Subtle Performances for the Walker (Machine Project)
| (adam overton)
| a pamphlet of invisible & subtle performances for visitors of the Walker Art Center during Machine Project's 2-week Summer Jubilee, 2011
|
| It Is Too Late Now Your Life Is No Longer Beautiful
| (Richard Kamerman)
|
|
| LACMA Performances Pamphlet (Machine Project)
| (adam overton)
| pamphlet of performances for A Machine Project Field Guide to LACMA, 15 Nov 2008
|
| Laundromat Music
| (adam overton)
| for Steve Reich
|
| Leaving the Continent
| (Jeremy J Quinn)
| A performance for taking your leave of whichever continent you are on.
|
| 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).
|
| MATERIAL ACTION IMPROVISATION
| (adam overton)
| material[s], action[s], improvisation[s] ... whatever, however, now ... with and/or without intention
|
| Microtonal piece, August 2011
| (David Papapostolou)
|
|
| Mirror
| (Cristyn Magnus)
|
|
| Mockingbird
| (MARTIN BACK)
| text score
|
| Napping Music
| (adam overton)
|
|
| [Never Ever] [Never] Again [And Again]
| (adam overton)
|
|
| 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.
|
| One/1
| (Peter Bo Rappmund)
| Byzantine chant atomized and recompiled into instructions for visual edits and cues. Files below: original score with notes; graphic score interpretation for film.
|
| Oscillating Heads
| (ADACHI Tomomi)
| Canonic Visual Music
|
| parking attendant booth performances
| (adam overton)
| ... in the booth with the regularly scheduled parking attendant ...
|
| Peeling Piece
| (adam overton)
| for several, in a warm to hot and/or otherwise stuffy [but quiet] environ, peeling instruments off our skin...
|
| percentage piece
| (adam overton)
| perform a percentage of any piece ...
|
| performance art for andre vida's special series in berlin
| (adam overton)
|
|
| pinecone piece 2 (for Carly and Suneeta)
| (adam overton)
| for Carly and Suneeta
part of a series of pinecone pieces
|
| pinecone piece 3 (2 pinecones / matches)
| (adam overton)
| for Mark So
part of a series of pinecone pieces
|
| Ponytail, for performer or performance
| (adam overton)
| during any performance: ponytail
|
Popp Song Performance for Nancy
and
Nancy Popp, the Drinking Game
| (adam overton)
| two devotional pieces dedicated to the fabulous Nancy Popp, handed out as notecards and demonstrated to those in attendance
|
Positions [Of Potential And Respite] For Musician
or
It's up to you to save the world, Eric km Clark
| (adam overton)
|
|
| posture series (of aaron spafford)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of april guthrie)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of asher hartman)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of ben davis)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of brooke taylor smiley)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of carol mcdowell)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of carol mcdowell (2))
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of casey anderson)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of cassia streb)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of cassia streb (2))
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of catherine lamb)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of christa graf)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of christine tavolacci)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of corey marc fogel)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of corey marc fogel (2))
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of daniel clay)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of david kendall)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of devin mcnulty)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of dorit cypis)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of dorit cypis (2))
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of eric km clark)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of gary flom)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of gerhard schultz)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of hana van der kolk)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of haruko tanaka)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of jessica catron)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of johnny chang)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of katie clark)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of lailye weidman)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of lara bank)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of laura steenberge)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of lewis keller)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of madison brookshire)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of mari garrett)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of mark allen)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of mark g. so)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of mark so (2))
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of michael parker)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of michael pisaro)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of michele yu)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of mike winter)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of nat slaughter)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of orin hildestad)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of rachel manderfeld)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of raven chacon)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of robert cheatham)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of ryan o'toole)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of tanya rubbak)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| posture series (of tashi wada)
| (adam overton)
| graphic score, to be interpreted in any way, through sound, action, thought, and/or movement
|
| 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
|
| Proximity Dance
| ( : open to all levels :)
| An invisible performance for one person in a populated indoor space.
|
| Recipe for a European Dance Theater piece
| (Arianne Hoffmann)
|
|
| Recipe For A Google Party
| (adam overton)
| A Google™ Party is a costume party where the attendees dress up like people that they've located while Googling™ their own name.
|
| Repeat
| (adam overton)
| an everyday statement, repeated ... expand, contract, exaggerate
|
| Resistance to the progress of time
| (Jeremy J Quinn)
| A performance to protest the passing of time and attempt to stop it
|
| searching for a pattern 1
| (Jukka-Pekka Kervinen)
| Open score for piano and optional instrument(s).
|
| Slow Eyeball Turns Dance
| ( : open to all levels :)
| An invisible performance by one or more people in an indoor or outdoor space.
|
| some points
| (Jukka-Pekka Kervinen)
| for melodica (and/or other instrument(s))
|
| some reason
| (Jukka-Pekka Kervinen)
| Open score for any number of instruments.
|
| space
| (Michael Pisaro)
| A piece for audience from 1994.
|
| spokes
| (Jukka-Pekka Kervinen)
| open score for any number of instruments
|
| Talk about the Jets game really loud Piece
| (adam overton)
| talk about the Jets game really loud...
|
| Tear Test
| (Fluxus Laboratories)
| Exploring the joy of tearing something up.
|
| the bottomless spectator (after Adam)
| (john)
|
|
| The Closed Fist
| (MARTIN BACK)
|
|
| The NPPCs
| (Jacob Feinberg)
| 4 short pieces for 1 or more piano(s)
|
| The Topless Spectator
| (adam overton)
| shirtless / topless
|
| Three/1,2
| (Peter Bo Rappmund)
| Multiple sound to sight scores with a focus on isorhythms and the Fibonacci sequence. Files below: notes and preliminary experiments for the score; Fibonacci sequencing in Final Cut timeline for Three/1 & Three/2.
|
| Time After Time After . . .
| (adam overton)
| 60 claps and sung tones in 60 minutes, for ensemble...
|
| Titanic
| (Isaac Schankler)
| Titanic is about icebergs and other big things.
|
| Together but apart piece
| (adam overton)
| ... coexisting with the work at hand in a gentle but separate / unrelated / independent way
|
| too low
| (Jukka-Pekka Kervinen)
| Open score for any number of instruments.
|
| Two/1,2,3,4
| (Peter Bo Rappmund)
| Léonin's Magnus Liber Organi atomized and reconstructed as a set of instructions for film edits and cues. Series of 4 films based on a graphic score as derived from the source material. Files below: comparison between original and new score; comparison between new score and Final Cut timeline; two timelines with different interpretations of the graphic score; full graphic reinterpretation of aforementioned score.
|
| Two Locations Dance
| ( : open to all levels :)
| A dance for to be performed by one or more people in a populated, indoor space.
|
| un(m)ask
| (Pedro Filho Amorim)
| Graphic score for organ and/or choir
|
| Whisper Performance
| (adam overton)
|
|
| whi te sky
| (Jukka-Pekka Kervinen)
| Open score for any number of instruments.
|
| Yelling Pieces I
| (adam overton)
| "for as long and as loud as one desires"
|
| Yelling Pieces II
| (adam overton)
| "for as long and as loud as one desires"
|
yours... would/does/can... (he was doin it mega-caszh[ual])
(for Corey Marc Fogel)
| (adam overton)
|
|
