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HENRIK EHLAND RASMUSSEN: LISTENING PERSPECTIVES! (2008)
The first illustration provides the basic "material" of different listening perspectives. The second one is the playing score.
For your additional convenience (and that of the search engines ;-), here are the texts of the composition:
LISTENING PERSPECTIVES. Ensemble ad lib.
Instructions for each musician.
All kinds of musical material can be used in this score.
- cues to the scale numbers:
1. you are listening very, very carefully to the others, and pay all the attention you can effort to the musical creative process.
2. you are listening very carefully to the others, but from time to time you will allow yourself briefly to be occupied by interesting musical shapes and figures you have discovered on your own.
3. you should pay attention to the others' music but it is important as well that you try to develop musical structures and ideas - go deeper into musical ideas, that potentially would make sense to other people - but still will be on an experimental level.
4. you are not listening fully to the others and it is more likely that your own musical parameters are more interesting. - But if and when othermusicians make clear interesting expressions you cannot overlook, you must respond to this.
5. you are very occupied with your own creative process - making very beautiful etc. clear musical structures. Only when similar parameters, playing style etc. occurs there will be a natural match followed by an appropriate attention.
6. the music, playing style etc. you are playing is the only interesting event at all in the world - you are not listening to the others at all - if anything or anybody disturbs you, you cannot let that happen. You must make a manifestation of your own ideas.
Determine your own attitude due to each scalenumber
- stay in the following listed numbers - change to the next number on common agreement (a) or (cd) when someone makes a clear decision and plays a deep note marcato that clearly divides [sets apart from] the general image of sound - and followed by a sustained note more than 1 octave higher.
- after max. 4 min. in no. 6 change to no. 4 - the signal to change will be that someone makes persistant tremolo or trillo.
- make sure that everybody is participating in this number before everybody change to no.
(5) when someone makes repeated figures remarkably faster or remarkably slower than the general image of sound.
After a period of max. 3 min.! - ! Choose one or two of the other musicians that you will pay attention to in scale no.
(1) - - gradually change attitude to scale no. (3) and make tones of different duration with pauses - everybody must end up with this
