Archives du mot-clé music

Marie Jorio – English

Retour au texte original en français : Demain, Demain !


Tomorrow, Tomorrow!

Ecolo-musical Lecture
For reflecting, dreaming, acting

Marie Jorio, 2018



From music to ecology, from ecology to music
Examples of audio files
Extracts of texts of the programme
How did I become an ecologist?



From music to ecology, from ecology to music,
to break down the walls of denial, fear, anger…

Marie Jorio is an urban planner committed to ecological transition and has extensive experience on stage in theatre/music performances. She found herself in the situation of (trying to) break down walls, literally and figuratively, as early as her engineering studies, where her artistic sensibility had difficulty finding a place, and as an urban planner, as a weaver of physical and human links.

In the proposal “Demain, Demain !” [“Tomorrow, Tomorrow!”] she wants the audience to reflect, dream and act, in order to overcome the denial or stupefaction that suffocates us today in the face of the magnitude of environmental issues.
Accompanied by the theorbist Romain Falik, and by other guest artists depending on the venues, she puts in place an original form of sensitization that mixes the reading of reference texts by major authors on ecology with literary and poetic texts, and a sensitive musical accompaniment of Baroque and improvised music.
Considering that music, like all forms of art, is a form of demand and implementation of the happy sobriety to which our societies should turn, its crossbreeding with ecology becomes a foregone conclusion.

To make people want to read and learn more about ecology is another aim of the lecture-performance. The performance program, which is the result of a long and ongoing bibliographical quest, presents classics of the genre, such as rarer texts, fictions, essays or poems, and attempts to combine the bitterness caused by the observation on the state of the planet, an existential reflection and an enthusiasm for action. The reading can be extended by an exchange on the subject of books and reading suggestions.


Audios (other examples are available)



Extracts of text in the performance program

Pierre de Ronsard, Contre les bûcherons de la forêt de Gastine

« Forêt, haute maison des oiseaux bocagers,
Plus le Cerf solitaire et les chevreuils légers
Ne paitront sous ton ombre, et ta verte crinière
Plus du Soleil d’Esté ne rompra la lumière.

Plus l’amoureux Pasteur sur un tronc adossé,
Enflant son flageolet à quatre trous percé,
Son mâtin à ses pieds, à son flanc la houlette,
Ne dira plus l’ardeur de sa belle Janette :
Tout deviendra muet : Echo sera sans voix :
Tu deviendras campagne, et en lieu de tes bois,
Dont l’ombrage incertain lentement se remue,
Tu sentiras le soc, le coutre et la charrue :
Tu perdras ton silence, et haletant d’effroi
Ni Satyres ni Pans ne viendront plus chez toi. »


Reproduction (Poem by Marie Jorio, from the blog « ne levez pas les pieds »)

La ville semble proche de l’effondrement,
Ses habitants fourrés dans des boîtes métalliques,
Comme des petits pains frôlant l’indigestion ;
Le moindre grain de sel fait gripper la machine.
Tout cela est complètement fou
(et pourtant ils pondent).

Mais quoi ! La ville est-elle folle au point
Que l’on construise toujours plus
Sur des lignes pourtant saturées ?
Et 100 000, 200 000, 300 000 mètres carré,
Pour se faire élire, s’ériger une gloire, une fortune.
Les conducteurs de métro sont-ils condamnés
A rouler au pas dans la peur d’arracher un bras ?

The city seems to be on the verge of collapse,
Its inhabitants jam-packed in metal boxes,
Like bread rolls verging on indigestion;
The slightest grain of salt causes the machine to stall.
All this is completely insane
(and yet they hatch).

What the hell! Is the city so insane
That we build more and more
On lines that are already saturated?
And 100,000, 200,000, 300,000 square meters,
In order to be elected, to build a fame, a fortune.
Are subway drivers condemned
To riding at a slow pace in fear of tearing off an arm?


How did I become an ecologist?

Marie Jorio, August 2018

How did I become an ecologist? Why did I become an ecologist? It is interesting to ask this question.

First answer, very clear in my memory: Christmas 2002, I’m staying with friends in Lyon, their apartment in Croix-Rousse neighborhood. They subscribe to Télérama and I read an article by Jean-Marc Jancovici about global warming. My Cartesian and naturally worried mind is struck by the subject. I would spend the following weeks devouring his website; his somewhat haughty polytechnic tone is not enough to spoil its real popularizing qualities, especially when it illustrates the gigantic amounts of energy we waste, with conversions into a number of slaves. I realize irrevocably that our growth-based lifestyle cannot continue for long in a world of finite resources. This simple reading definitely changes the way I look at the world. I’m a beginner urban planner, working on the redevelopment of Les Halles, Paris’ central metro station; this work is somewhat consistent with my brand new environmental concerns, since it involves improving the capital’s public transportation network.

If I go back further in my memory, I find older traces of awareness of the fragility and infinite beauty of nature. A summer trip in the family car, probably on the “sun” highway south. We come across a quarry in operation; “Dad, what are we going to do when there won’t be any more stones?” I don’t remember much of the answer, which was supposed to reassure me that we would always find some. Always…. Until when? And then I discover and devour all of Pagnol’s books and take advantage of the summer vacations in a large property in Provence to spend whole afternoons in the garrigue. I observe the fauna and flora, invent paths and stories. My childhood and early adolescence are marked by immersions in the forest and nature, which the urban planner that I will become will completely forget to the point of being afraid of the slightest thorn and the slightest noise each time I return to nature.

How to deal with this sensitivity and restless consciousness? For 15 years, it has been more of a weight than anything else, a black cloud over my head that I had to forget as best I could in my daily actions. I savor the long summer evenings thinking that these may be the last ones… Practicing self-mockery so as not to get too much attention, I try to convince and make my colleagues and those around me aware of the climate issue and the depletion of resources. At the beginning of the 2000s, the subject is minor and controversial. The qualities of logic and rigor that led me to study engineering, without any vocation, are the same qualities that made me recognize in the curves and figures, brilliantly exposed by Jancovici, among others, an irrefutable fact. These same engineering studies have had the result of making me skeptical about the validity of scientific models to describe the living, or in any case to grasp their limits. Understanding that models are by definition approximate with respect to the infinite complexity of nature, was undoubtedly the demonstration of an ecological intuition that was unknown at the time. In any case, this ecological consciousness, if it does not translate into political commitments – I have seen up close the Greens of the Parisian microcosm who have perfectly cooled the idea I might have had of getting involved – has a very concrete consequence on my private life: while my engineer friends already have 2 or even 3 children, I take refuge in the idea of not having any, overwhelmed by the responsibility of leaving them a dilapidated world and a disillusioned tomorrow. However, I have enough social sense not to worry my friends that having a third child seems irresponsible to me in view of the state of the planet.

And then the environmental issue progresses in the media, as all environmental signals turn red. It is becoming difficult to ignore the issue. My job as a developer, building infrastructures and selling land to developers or social sponsors, is becoming a heavy burden. Of course, I have chosen to work on projects that are exemplary from an ecological point of view. But the worse environmental news accumulates, the more I am convinced that the scope of the changes to be made is enormous, and that continuing “business as usual”, mixed with green cosmetics, is totally trivial.

Changing is slow and painful. An immense anger overwhelms me. What can I do about it? What drops of water to bring into the ocean? If the legend of the hummingbird, which carries its share of water to extinguish the fire, puts balm in our astonished hearts, it nevertheless masks the need for changes that go far beyond individual initiatives. How can we live with this acute lucidity of the impending collapse? With the bad conscience of being better off than many others? How can we continue to breathe, to laugh, and find the path of action that will give meaning to this life that has become precarious? How can we live when we are aware that the human species has its days numbered? What killjoys these eco-freaks!

This anger, combined with a few accidents along the way, pushes me to change my professional path, to turn to teaching and counseling; to try to transmit new, possibly radical, ideas, while maintaining a certain independence of mind. And above all to slow down the pace, to sing, to get closer to nature, to better apprehend the necessary changes, and to calm down, little by little, the anger.

There are no answers, just paths to take. The practice of singing and performing arts are my lifebuoys of lightness and beauty to support the cloud which is much darker than fifteen years ago. And then sharing this weight with other convinced people, with whom there is no need to “show green paw”, is absolutely necessary for me to move forward. Consciousness is progressing, and we will soon all be schizophrenic: we know that we have to change everything, but we are only human, and we continue to live, to change cars, to discover Thailand… Some of us are hoping for a violent shock (but not too much) as soon as possible, which will serve as an electroshock. One thing is sure, being a shrink is a way to the future. And being an ecologist is not only an external struggle, more and more violent, but also an internal one, to try to stay straight in the storm of uncertainties and worries.


DoNo – English

Accéder à la traduction en français : Do No – French





Do ris Kollmann – drawing

No riaki Hosoya – bass

Studio Doris Kollmann, Berlin 2016*

Improvisation has a sound of easy-going, it is connected with the state of “Flow” or “Awareness”, yet it is a great adventure, as it asks us to go onto the journey without navigation system. In our DoNo improvisations we do not speak about equipment, the length of the journey, nor do we have any plan or idea beforehand. We follow our intuition and create moments from what we felt on the moment.

Doris Kollmann prepares the setting, Noriaki Hosoya brings the bass.

In 2016, on May 27, The Berlin improvisation takes place in Doris’ studio, all walls, ceiling and floor are covered with white paper – a white cave. Emptiness is the first impulse we received from this setting. Seclusion may be another one.

Wrapped Studio Berlin
Wrapped studio Doris Kollmann, Berlin, 2016*

Videos of the Berlin improvisation, Part 1 and 2:

Also for the Kyoto improvisation which took place in November 2019, Doris prepared the setting, Noriaki brought the bass.

Japanese House Kyoto
Paper banners in abandoned traditional Japanese house, Kyoto 2019

Videos of the Kyoto improvisation, Part 1 and 2 :

Air, light and melancholy were impulses we received from the setting. Maybe also familiarity and friendship.

In each improvisation we discovered very different landscapes, were literally in two different continents, and had a lot of “heritage” in our package when starting.

During the course of each performance this heritage was thrown piece by piece over board, the nakedness of the setting was filled with discoveries made in momentum, our education, expectations, our anxiety vanished as we moved forward into time.

Drawings by Doris Kollmann, sound by Noriaki Hosoa, Kyoto 2019

The greatest adventure is to NOT rely on your so called personality but to trust on the evolution of the moment. Everything you need is already there.

We are looking forward to many more journeys together.

Doris Kollmann, Berlin, June 7, 2020.
Noriaki Hosoya, Tokyo, June 8, 2020.

Interview of Pascal Pariaud – English Abstract

The text of the article is extracted from the recording of an interview of Pascal Pariaud realized in November 2016 by Jean-Charles François and Nicolas Sidoroff. Pascal Pariaud is a clarinetist, and he teaches at the National School of Music at Villeurbanne (a suburb of Lyon, France). He supervises workshops in which the practice of graphic scores is an important component. He is a member of the improvisation trio PFL Traject and of the collective PaaLabRes.

The author describes in detail practices developed with various students’ groups with the graphic scores by Fred Frith over several years. Each of these scores proposes a different approach to a particular sonic matter. The students are also asked to develop in parallel their own graphic scores.

Several projects involving graphic scores have been developed outside the music school that have taken place in urban settings : children making music accompanying street theatre, music designed by pupils in a primary school for a film, a work by Llorenç Barber with all the bell towers of Lyon sounding together with the participation of advanced students.

The relations between graphic scores and improvisation are explored in several pedagogical contexts. Their role in the recent history of experimental music is stressed. The use of recording students performance and listening back is explained. The special case of the clarinet class with a single timbre available to interpret graphic scores is addressed. The practice of “Sound Painting” is critically analyzed. Several examples of adding sound to a film are given.

In general the author in his exposition of his pedagogical practices explains how he considers all the complex issues related to the use of graphic scores.

Return to the French text

Reflections on Graphic Scores – English Abstract

Reflections on Graphic Scores

Etienne Lamaison (2017)

English Abstract

This article is a development of Etienne Lamaison’s doctoral thesis “L’interprétation des partitions graphiques non-procédurales” (Insituto de Investigção e formação Avançada, Evora, Portugal, 2013). The article is in two parts: a) “The Relations between visual and sound domains”; b) “The Graphic Scores”.

The comparison between artistic domains is a major preoccupation in Western thought. While there is a strict separation of the disciplines, for many artists the sources of inspiration for their imagination may often cross over boundaries. In recent time hybrid forms between artistic realms have been developed and many terminologies belong to two or more domains (color, timbre, nuance, harmony). However all the attempts to develop machines that would translate sound into visual forms or vice-versa have not been very successful. Some artists have developed ways of comparing parameters in one realm to their counterparts in their own realm (Klee and Kandinsky on the temporality of a tableau, Ferneyhough on visual images escaping the unfolding of time, the blank space and Cage’s silence). Colors are often used as code for timbre, visual spaces with temporality. In the relation visual plane / sound plane, notions of simultaneity and polyphony are explored. The concept of density can also produce useful comparison (Xenakis). The notion of splash, of touch, especially in impressionist painting can be related with vibrations.

The definition of “graphic score” is particularly difficult to make in view of the fact that most of them do not constitute a viable notational system. Five forms of graphic scores are presented:

  1. Propositions that define a succession of events.
  2. Propositions in which the total duration of the performance is fixed by the composer.
  3. Propositions that are orientated towards pitch organization (registers, boxes with indicated pitches).
  4. Mixed scores combining graphic elements with standard notation.
  5. Propositions that are strictly non-procedural (with no specified ways of interpreting the visual elements).

Each of the five categories is accompanied with examples of graphic scores. The author explains his own approach to the non-procedural idea (the fifth category) and offers different methodologies for interpreting these various written forms, similar to those of improvisation. Historical and philosophical perspectives of experimental notational practices since 1945 are provided. In the conclusion, Lamaison stresses the necessity for institutions to include more development of the interpretation of graphic scores in their curriculum.

Return to the French text

Encounter with Xavier Saïki – English Abstract

Encounter between Xavier Saïki


Samuel Chagnard & Jean-Charles François



Discussion about the project developed by the Ishtar Collective on Treatise by Cornelius Cardew

English Abstract

The collective Ishtar has evolved from having a large number of members of dancers, performers, musicians, actors (1993-1999) to a more limited group of musicians interested in free jazz and improvisation (2003…). They like to call their activity “noise music” as part of the field of sonic arts : the world of making music with objects and modified instruments. Improvisation for them is a way to question listening, time unfolding, space and public participation. They mix acoustical sources with electroacoustic ones.

The interest of the collective for Treatise by Cornelius Cardew stems, in comparison to other graphic scores, from its radical uncompromising approach to visual layout. They became acquainted with this score at the moment in which they wished to fix certain things in their improvisations. In a first approach to the piece, they decided to play the totality of the 193 pages with a clock, each page having a duration of 2 minutes. Immediately some graphics were more striking than others. They concentrated on very minimal lines. They selected the pages that interested them mostly and they applied their usual modes of playing to the strict temporality of the score.

In their realization of Treatise, the ensemble tried to combine a very strict approach to time organization determined by the layout of graphic elements on the pages, with their usual approach to free improvisation. In the Ishtar collective, each player is independent from the others, there are no decisions in common. For the realization of Treatise, they might have been working on the same page and the same time frame, but each player interpreted the graphics in his own way. Some players strictly respected the signs on paper, others had a more general loose way of translating the visual graphics into sound.

The question of the central line or “time line” has been discussed in relation with Cardew’s Handbook. Difficult choices had to be made between the possibility for the musicians to choose individually what pages to be played and what duration they might last, or on the contrary to use the time line as a common point of time unfolding. The work on Treatise had an important impact a lot on the group’s own practice of improvisation, especially concerning the relation to time.

The collective has also organized workshops for amateur musicians, or young students from music schools and primary schools, in which graphic scores played an important role, and Treatise was often used in this context. The use of graphic scores allows inexperienced players to access improvisation, the score is used as a pathway towards sound production not completely determined by some kind of notation. Pieces like Treatise are at the same time “works” in the traditional sense, and open to modes of playing independent from visual structuring. Treatise is a tool to fabricate possible worlds, to make music in the large sense of the word. But from the graphic point of view, the score presents itself as a sacred object, something fixed, untouchable. There is a very precise continuity in the piece, there is a real graphic development.

Return to the French text

English Editorial 2017


Edition 2017 “Graphic Scores”


Guide 2017
Editorial 2017
Content of this edition

Guide 2017

This new edition is presented in the form of a roadmap, reminiscent of the metro map of our first formal proposition (2016 Edition), taking as basis a photograph of a painting by Lyon artist Christian Lhopital (we thank him for his generous contribution). We took advantage of the presence of  seismic “faults” on this painting to use them as lines for connections between what we call “known places” [“lieux-dits”] in a meaningful way. Some contributions are grouped together on the map in regions (Treatise, films, documentation). The map consists of two big categories:

Artistic realizations

  1. An artistic performance (audio or video) of a graphic score, which can be triggered by clicking on the “known place”, that is the name of the contribution. An explicative, theoretical or poetical text appears when one goes from one known place to either of the two neighboring “known places”, in the form of a collage with the text of the neighboring contribution.
  2. Performances of Cardew’s Treatise, which are clustered in one part of the map and are presented in the same format.
  3. Three musical illustrations of films.

Contributions with texts These are reference articles, interviews or documentation pertaining to the question of graphic scores.

You can move freely in the new map by clicking on any of the names of the known places. But the spirit of our approach is definitively on the side of taking a path following the lines, or seismic “faults” (as in “San Andreas fault”): the strolling from one known place to its neighbor reveals a collage of texts or spoken words provided by the contributors. We strongly encourage you to follow a pathway along on a fault line.

Editorial 2017

Music is irreducible to the spoken word, it is well understood, no language structure can account for it. In order to say that there is nothing that can be said about the nature of music, nevertheless one has to say it.

The idea that sounds cannot be represented by signs, images, by the visual world in general, is less often expressed. Any sonority that cannot be simply measured – as for example timbre in its global complexity – could not be, according to this enunciation, reduced to a system of signs. The accumulation of signs necessary to represent the totality of the sound matter would render the notation unreadable. In order to demonstrate the impossibility of representation, one has to demonstrate it by signs.

Already two paragraphs full of pointless signs for expressing the pointlessness of the effort to conciliate the sonic and visual realms. Yet, in order to make music, one has beforehand to telephone each other, to talk – a language on the subject of music – and then to take from one’s pocket a diary in which to inscribe the place and time of the encounter – a graphic writing linked to the practice of music. Even in the case of an impromptu encounter, the very decision to make music together can be considered as an inscription. Would that allow the naming of this type of process “graphic score”?

The visual elements inscribed on the page of the diary do not prescribe sounds that will be produced at this date, in that place which is associated with it, and with the persons who have written the same “score” in their note book. The graphics in the diary, foreseeing what will happen at such a date and in such place allows the definition of the time and space of the music, the partial planning of its unfolding. As for the rest, anything may happen. The sound combinations and their eventual meaning have to be elaborated at the moment of the encounter.

Graphics, which determine something different from the musical materiality in itself, give that delicious impression of needing no mediation whatsoever: everybody can have access to it in an immediate manner without difficulty. The presence of a score assumes the same function as a totem in the religious and enigmatic sense: it implies the obligation to do an action, some movements, some sounds, and its absence paralyzes. But if the mediations are not provided by the graphics, they remain necessary elements for action to take place. One has either to call on some resources – knowledge or know-how – already present in the performer’s realm, or to invent some kinds of mediations – codes, rules, different means to transform the visual into sound. The advantage that graphic scores have in relation to the dryness of the daily notebook inscriptions, is that they contain generally enough salient elements for giving rise to codes, either in an existing framework (recalling for example notational systems already in use), or in some framework to be invented by the participants. Everybody can have access to action, on the condition that the lack of mediations specified in the graphic score could give rise to mediations – instituted or to be invented – appropriate to the situation of the participants.

This is precisely the PaaLabRes project: a) to conciliate free sounds and academic language; b)to emphasize the profound implication of artists in production and the access for all to practices; c) to connect the well identified objects with those which have to be continuously re-actualized; d) to bring together the private space with public presentations. And let’s not forget hybrid activities, which get artists to think outside their narrow professional corporate world. In other words our aim is to conciliate the visual world irreducible to sounds and the sound world impossible to represent; in this way to go beyond the “readable”.

The use of graphic scores is today widespread in extremely varied contexts and aesthetical modes of behavior. The new edition “Graphic Scores” on the PaalabRes site [] shows a good sampling of this diversity, without pretending to cover the field in an exhaustive manner. For us, the confrontation of realizations by very different groups is of particular importance: professionals, amateurs, students, young pupils, electroacoustic realizations, contributions based on original works by visual artists. This diversity, which is also a good representation of the democratic character of practices implying graphic scores, is expressed in particular around Treatise (1963-67) by Cornelius Cardew, a referent work for many musicians: seven interpretations of this piece are presented.


Contents of this edition

Several regions are identified on the map:

  1. « Treatise » :  The graphic score by Cornelius Cardew, Treatise (1963-67) is composed of 193 pages presenting 67 different graphic elements, certain of which are borrowed from traditional musical notation. According to John Tilbury, « Treatise was the culmination of a trilogy of works (with Autumn 60 and Octet ’61) in which this essential, human dialogue was re-opened, explored and refined. Rather than prescribind sounds Cardew sought to stimulate, provoke and inspire through a visual score of astonishing scope and imagination[1] » peformers’ capacities. This score is still today considered as a major reference and often performed in various realizations. This region is composed of:
    1. Cardew: A collage of texts (in French) on Cardew’s Treatise (by Cornelius Cardew, John Tilbury, David Gutkin, Christopher Williams, Matthieu Saladin, Keith Rowe, Arturas Bumsteinas, Laurent Dailleau, Jim O’Rourke and Jean-Charles François).
    2. Saïki: An interview with Xavier Saïki, member of the collective Ishtar, on Treatise by Cardew.
    3. 7 realizations of Cardew’s Treatise by very different groups: on the one hand,  versions by professional groups, the collective Ishtar, the ensemble Dedalus and a trio (Pedro Branco, José Ceitão and Etienne Lamaison) ; on the other hand versions realized in educational contexts by the students of the HEMU of Lausanne (Haute Ecole de Musique de Lausanne), students from Cefedem AuRA, young students of the EPO program at the National Music School of Villeurbanne, and young students at the Miribel Music School (near Lyon).
  2.  « Films »: graphic scores can also be presented as animated images in time. Many projects are centered on the sonorization of silent films, particularly through improvisation while looking at the film. Three examples of sonorization of films are presented in the 2017 edition:
    1. 11e Année : The trailer of the film The 11th year (1928) by Dziga Vertof was sonorized by  Clélia Bobichon, Jean-François Charles, Guillaume Hamet, Krystian Sarrau, Sébastien Sauvage et Nicolas Sidoroff. You will find in between the known-places « Zola » and « 11e Année » information about the practical modes of operation while realizing this project, by Nicolas Sidoroff.
    2. Zola: The primary school Emile Zola in Villeurbanne organized during the year 2016-17 the realization by the pupils of a film. One class was in charge of realizing its sonorization with Pascal Pariaud.
    3. Bois: The sonorization of the cartoon Bois by Lucie Marchais was realized by the improvisation workshop of Pascal Pariaud at the National Music School of Villeurbanne. Lucie Marchais was participating as a musician in this workshop.
  3. « Documentation »: We can find in the world a particularly rich collection of graphic scores difficult to categorize, as many different practical contexts use this kind of tool. In this edition two known-places are proposed concerning the documentation of graphic scores:
    1. At the known-place IIMA, International Improvised Music Archives ( you will find information on the extremely rich documentation collected by the Danish musician  Carl Bergstroem-Nielsen. An important part of these archives dedicated to improvisation concerns graphic scores since 1945.
    2. At the known-place Aleph : the Ensemble Aleph organized in 1983 an exhibition of graphic scores at  Issy-les-Moulineaux, in the context of the « Atelier Musical » directed then by Sylvie Drouin. The catalogue of the exhibition « Musique et Graphisme »  is presented in this known-place. The ’Ensemble Aleph was at that time a young contemporary music ensemble, just created by  Dominique Clément (clarinet), Sylvie Drouin (piano), Monica Jordan (voice), Françoise Matringe (piano) and Christophe Roy (cello). The ensemble worked at that time with the composer  Dan Lustgarten, who actively participated in the shaping of the exhibition and writing the texts of the catalogue.

Three reference articles on the subject of graphic scores and more generally on the issues of visual representation of sound, of musical notation and of musical forms of writing are presented:

  1. “Drastique ou plastique ?” an article by David Gutkin (the English version  of this article, « Drastic or plastic? » has been published in Perspectives of New Music ). The author explores the contents of the 1959 lecture by Stockhausen, « Musik und Graphik » de Stockhausen, 1959” in historical and critical perspectives.
  2. “Réflexions sur les partitions graphiques” by Etienne Lamaison, extracted from his recent thesis on non-procedural graphic scores. For this author, the notion of non-procedural graphic scores can be defined as scores leaving a total freedom of interpretation of the visual signs to the performers.
  3. In October 2019, a new known-place was created: “Ecriture et Oralité” (« Writing and Orality »), an article by Dominique Clément. The author confronts here in a double text, the written formal version and the oral transcript of a lecture he delivered in 2018 at the Cefedem AuRA.

Two interiews present effective practices of realizations of graphic scores in various contexts:

  1. An interview with Pascal Pariaud on his pedagogical practices linked to graphic scores.
  2. An interview with Xavier Saïki, member of the collective Ishtar, on Treatise by Cornelius Cardew.

The other known-places present various realizations of graphic scores sent to PaaLabRes after the 2017 call for contributions. Here is the list:

  • sono ba : Frédéric Mathevet, Sono ba 2 (extract): the appartment of my father/of my mother.
  • Gray Area : a graphic score by Julie Mehteru, Gray Area, performed by  Bruno Graca and Etienne Lamaison,  clarinets without mouthpiece.
  • Apples : Christopher Williams, Apples are Basic, performed by  Mary Oliver, viola and Rozemarie Heggen, double bass. Serigraphs by Corita Kent.
  • Pressure/La mer: Alex Ness et Yoni Niv audiovisual compositions, PressureLa mer, 2010.
  • Aifoon : Aifoon,artistic and pedagogical organization, Ghent, Belgiim. Graphic scores realized in children’s workshops and performed by  Marc Galo, electric guitar, Stefaan Smagghe, violin and Thomas Smetryns, dulcimer.
  • …out of the air… : Elain Barkin, … out of the air…, for basset horn, 4 tracks tape and graphic score. This work was created in collaboration with the clarinetist  Georgina Dobrée (1930-2008). The performance was recorded at the University of Wisconsin,  Eau Claire, on March  4, 1993.
  • ENM : 3 scores written and performed by students participating in the improvisation workshop of  Pascal Pariaud at the National Music School of Villeurbanne.  Charlen Guillot, Kerwin Marchand-Moury and Léa Vernet.
  • Yantra : David Samas, Yantra,for the Gamelan Encimal (Stephen Parris, director). Performance of December 11, 2016 at Mills College, Oakland, California.
  • Unbearable Lightness : Carl Bergstroem-Nielsen, Towards an Unbearable Lightness 1992, for any instruments or voices capable of producing some « sombre et heavy » sounds and also some « light » sounds. Performance by the Ensemble Supermusique of Montreal, Canada (2013).
  • London : Guillaume Dussably, 6 travellings in the map of the London Underground, for modular synthesizer (2017).
  • Tres : Frederico Llach, Tres (three in Spanish) for three performers. Performance by PFL Traject, Pascal Pariaud, clarinet, Jean-Charles François, percussion and Gilles Laval, electric guitar, University of California Santa Barbara, February 2015.
  • Schème moteur : Alain Savouret, Schème moteur, performance by Ultim’Asonata, Festival « Musique Action » 2017, Vandœuvre-lès-Nancy. With Alain Savouret, high-speaking music , Yannick Herpin, clarinet, Violaine Gestalder, saxophone, Noémie Lapierre, clarinet, Gaspar Hoyos, flûte and Aurélien Pouzet-Robert, hautbois. In 2019, two new versions of this score are added, played by the group Petit Goulash (with Franck Testut, bass, Pham Tronh Hieu, drums, Gilles Laval, electric guitar, and Nicolas Sidoroff, trumpet).
  • Constellation Scores : Rob Mazurek, trompetist and visual artist, Constellation Scores, an exhibition of his lithographs in 3D at  URDLA, Villeurbanne, September/November 2017.
  • powerpeinture : Laurent Grappe, powerpeinture, video, English translation by Ephia Gburek, la fab-ka, studio doitsu, mai 2017.

Le Collectif PaaLabRes : Samuel Chagnard, Guillaume Dussably, Jean-Charles François, Laurent Grappe, Karine Hahn, Gilles Laval, Noémi Lefebvre, Pascal Pariaud, Nicolas Sidoroff, Gérald Venturi.

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Contributors to the 2017 edition

English Editorial 2016

1. John Tilbury, Cornelius Cardew (1936-1981), a life unfinished, Matching Tye near Harlow, Essex: Copula, 2008, p.234.