Analogies of Control is “composed for the ear and by the ear.” Performer-composer communication has generally been conveyed in written terms of a score.  Since the advent of recording, the nature of that communication has changed.  Improvisers endeavor in instantaneous composition.  Composers have created fixed sound accompaniments for their written music.  Because this work’s construction was with audible material, it has two aspects of existence and is a new type of open form.  The aural score is only in the ears of the cellist who renders the score to the audience. What the cellist actually hears is the sound of heat exchange via various metal.  What the audience hears are derivations of cello, both the performer and the composer’s.
Richard Nance
Included in March 30, 2008