In early 2019, I began writing a series of experimental instruction- based scores for myself to play. These scores were used while performing or practicing solo, or as frameworks through which I would approach playing with others.

Taking an iterative approach, the practice revolved around conceiving of a set of musical ideas, writing instructions, recording or performing it, listening back, reflecting, and then reworking the score. The scores generally indicated a musical language, structural elements and duration, and often an underlying abstract concept. Attention was given to specific word use and presentation of material.

Extending this practice I asked 7 artists to participate in the iterative approach: Canadian artist Mark Molnar; UK-based Canadian Heather Roche; Australian sound artist Elizabeth Millar; Argentinian composer Julián Galay; Mexican new-media artist Gudinni Cortina; American percussionist Shakoor Hakeem; Chinese sound duo Zhao Cong and Zhu Wenbo. I chose each artist for the different perspectives they would bring. Throughout the process I solicited mentorship from Manfred Werder and Ryoko Akama.

As such, extending my daily score writing practice I wrote, reworked and recorded iterations of a score, sending every 4th or 5th iteration to the artists to record, also asking for photos, videos or words they felt related.

This is a partial archive of that work.

-Craig Pedersen, April 29 2022

 
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