anthony vine

marabu #14
[after Noguchi Rika]
for piccolo / bass flute, electric guitar, and sine tones
Anthony Vine (ASCAP) All Rights Reserved
performance notes
microtonal notation
+ up and down arrows indicate very small deviations in pitch (approximately eighth tones)
general notes
Part of my musical thinking is to have the sound sourceless... My pieces fail if one can say: Ah, there s a trombone, there s a horn. I like the
instruments to... become anonymous.

- Morton Feldman, Morton Feldman talks to Paul Griffiths (1972)

+ the instrumentalists must emulate the sounds of the underlying sine tones and integrate their sounds into a singular musical fabric

+ the mictrotonal notation is merely an approximation. for the flute, especially, try to match / tune to the pitches in the sine tones or guitar, as they
often double each other in unisons and octaves.

+ timings are to be executed as precisely as possible. performers must use a stop watch.
electric guitar
+ scordatura
807.3
523.25
340.01
311.13
233.08
169.71
[see attached audio files for tuning pitches (at first harmonic)]
+ pedals
two pedal settings are needed:

[1] volume pedal + delay create a flowing, slowly pulsating wash of harmonics. the initial attack of the harmonics, nor the speed of the delay must
not reveal itself.

[2] delay this setting should emulate the clipped sine tones that accompany this section. choose a fast delay setting that creates some
interference with the tremolo picking.

+ feedback

the pre-recorded feedback at 2:38 should be recorded onto a tape player in the space of the particular performance, using the performer s specific
gear.
Performance Notes

Performance Notes:

-3/4 -1/4 +1/4 +3/4



Quarter Tones: The quarter tones are not to be interpreted precisely. They
should merely resemble an out-of-tune effect.

- Slap Tongue
open slap tongue: the embouchure is opened abruptly and
completely at the moment of attack, producing a strong,
percussive, truncated, forceful sound.

Grace Notes: All grace notes should be played as fast as possible. Every grace
note figure should occur before the beat.

Multiphonics: M
BOK BOX! was written for
Casey Grev and Michael Torres.

Seattle, Washington 2011
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Program Notes:

The material of BOK BOX! is derived from a series of Messiaen-like transcriptions
of domesticated chickens. I present these transcriptions in their literal forms, as
well as many boks and clucks that are stretched, compressed, reversed, etc.
The form of the work attempts to parallel the life of these animals from organic
existence to eventual agricultural processing.
Quarter Tones:

Niente:

The niente dynamic markings are of extreme importance in this work. There should be as little initial
articulation as possible.

Part of my musical thinking is to have the sound sourceless My pieces fail if one can say: 'Ah, there's a trombone,
there's a horn'. I like the instruments to become anonymous

- Morton Feldman, Morton Feldman talks to Paul Griffiths (1972)



The piece requires two sets of diatonic harmonicas in all 12 keys. Label the key of each harmonica with
masking tape for ease of play.




Harmonicas

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5otano
5axohone
Petcusson l
Petcusson ll
Pano
Von
Ceo
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!#
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o o
q - 54 - 60
sente essbe
# tage, yei setene
o
o o
# aty
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!#
o
"
!"
o o
Detess ihe susian eda
wih a heavy objeci.
#
ed
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"
o
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PLD sente
{uness noiaied oihetwse)
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!"#
toduce ois o
ano tesonance
!# ##
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o
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o o
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o
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
&
{C)
{A)
L Hatnonca
C Hatnonca
o
{F)
F Hatnonca

ot agnes natin
Anihony Vne {2012)
&
{ctcuat bteaihe)
at
ione

&
whsie

&
bow
Ctoiaes

bow
Pan Ld

>

&
B Hatnonca

A
Vbes
bow
Ctoiaes

A
Vbes
>

2
&
|nuied

2
&
whsie

D Hatnonca
{D)
o
>
&
!!
sente
su iasio
sente
su oni.
sente
su iasio
sente
su oni.
su oni.
!!!
&
Lb Hatnonca
C Hatnonca
?
su oni.
!
Ceo

s
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Fuie
5otano
5axohone
Petcusson l
Petcusson ll
Pano
Von
Ceo
!"
o o
!#
o
!"
o o
q - 54 - 60
sente essbe
# tage, yei setene
o
o o
# aty
o o
!#
o
!#
o
#
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Key of harmonica




Upward arrow = blow air out




Downward arrow = draw air in




Darkened squares mark holes to be blown through.

Blurring technique:










Move gradually from one mouth position to another. Rhythmic precision is not required, but the general rate of
change should be retained.

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15
Harmonica distribution:

Flute: E, C, F, F-sharp
Sax: E-flat, A-flat, D
Perc. I: B-flat, D-flat, C
Perc II: B, E, A
Cello: E-flat, G, A

Cassette Tape Players

Seven small, portable cassette tape players are required. The tapes will be distributed by the composer. Each
cassette tape player should be at maximum volume to produce as much tape hiss as possible. The tapes will
be recorded at a very low level to compensate for the tape players volume.




boss u!e
L. Gu!or
(sounonq)
L. Gu!or
(!ronsposeo)
ne ones
b. .
L. G!r. (s)
L. G!r. (!)
ne ones

{Ief! poneI]

0:0

,
0:23
!o ross !.|e / ,ccoo, eec|c q.|o, ord sre |ores
norobu 4
o!!er Noquch |lo]
on!hong vIne {20!4]

0:00

0:22 0:2

3
2
voune peoo + oeo
(see per!ornonce no!es)
'""

4
2
3
!nnqs oe!ernne !he pon! o! hornonc chonqe,
no! !he pocenen! or ouro!on o! !he s\es
3
2

0:05

0:22

0:3!
,
0:39 0:46 0:5! 0:56
,

0:34

0:39 0:46

0:54

3
2
3
2
4
2
3
3
2

0:34 0:39
0:5!

0:56

ensemble setup
sine tones
+ the prerecorded sine tones should be played back on two concealed cassette tape players: one next to the flautist, and one behind the audience
(activated by another performer).

+ the tape player behind the audience should be placed to create the impression that a phantom performance of the same piece is playing in a
distant space.

e. gtr.
small table for extra flutes and
a cassette tape player
amp
flute
audience
cassette tape player
about the title
Noguchi Rika creates photographs of our planet that seem suspended in states of tranquil immersion. She often seeks out locations
that speak of the limits of human knowledge and ambition. For her series New Land (1999-2000), for example, the artist documented
the construction of artificial islands off the coast of the Netherlands; the group of photographs known as Rocket Hill (begun in 2001)
record the facilities and launch pad of Japan's Tanegashima Space Center and its island setting. Although some of her photographs
have featured human beings as their principal subjects, human figures are usually remote, incidental, or entirely absent from her
"fieldwork." The series The Sun (begun in 2005) on view here is an earth-based exploration of a celestial bodyour nearest and most
familiar starresulting from something that is beyond usual or sensible experience. The bursting coronas and incandescent flare-ups
recorded in these images are the result of shooting directly into the sun using the most primitive type of lens-less device for
capturing imagesa pinhole camera.

The title marabu #14 is a reference to a particular photograph from a larger series of images of marabu birds cast in faded, dream-
like, and tranquil atmospheres. This work seems to capture the threshold between opening and closing your eyes, or of a memory
made flesh.
+ the performance space should be as dark as
possible with stand lights for the performers (as
dim as possible)



boss u!e
L. Gu!or
(sounonq)
L. Gu!or
(!ronsposeo)
ne ones
b. .
L. G!r. (s)
L. G!r. (!)
ne ones

{Ief! poneI]

0:0

0:!4
,
0:23
!o ross !.|e / ,ccoo, eec|c q.|o, ord sre |ores
norobu 4
o!!er Noquch |lo]
on!hong vIne {20!4]

0:00

0:22 0:2

3
2
voune peoo + oeo
(see per!ornonce no!es)
'""

4
2
3
!nnqs oe!ernne !he pon! o! hornonc chonqe,
no! !he pocenen! or ouro!on o! !he s\es
3
2

0:05

0:22

0:3!
,
0:39 0:46 0:5! 0:56
,

0:34

0:39 0:46

0:54

3
2
3
2
4
2
3
3
2

0:34 0:39
0:5!

0:56

b. .
L. G!r.
ne ones
b. .
L. G!r.
ne ones

0:5
,
!:06
,
!:!2
,
!:!
,
!:24

0:5

!:06

!:!3

!:!

2
3
3
2
4
3
2
2
3
!
4

!:0

{cen!er poneI]
!:30
,
!:4!
!:4!

!:30 !:4!

!:46

2

b. .
L. G!r. (s)
L. G!r. (!)
ne ones
cc.
L. G!r.
ne ones

!:56 2:03 2:!5

!o pccoo]

2:!5

!
+ oeo
!os! ro!e !ho! nncs !he cppeo sne !ones]

!:56 !:5 2:03 2:06

2:!5

ccoo
2:3 2:40

2:3

2:2! 2:32
2:3 2:40

:
very light, fragile feedback
cc.
L. G!r.
ne ones
cc.
L. G!r.
ne ones

2:49 2:5!

3:02 3:04 3:07 3:09 3:!3 3:!5

2:49
3:02
vo
vo
3:!0

! ! !

2:49

2:5! 3:02 3:04 3:!0 3:!5

3:23 3:25

3:34 3:36

3:39

voune peoo + oeo

cresc.
4
5

'""

3:20 3:22 3:23 3:34 3:37 3:39 3:44

3:23
2:51
pre-recorded feedback
[behind the audience]

3:12

cc.
L. G!r.
ne ones
cc.
L. G!r.
ne ones

3:45
poco o poco on.
3:47

3:55 3:57

4:05 4:07

3:55 4:02 4:!0

4
5

4
5
4
5

3:4 3:52 3:54 3:55

4:!5 4:!7
!o boss !u!e]

boss u!e
{rIgh! poneI] 4:30

4
4:20
4:30
vo
4:37

5
5
4
vo
4
5

4:30

'
b. .
L. G!r.
ne ones
b. .
L. G!r.
ne ones

4:4

5:03

4:4 4:52 4:57

5:03

4
5
4
5
4
5 5
4

4:52

5:!!

5:26


5:36

5:!! 5:26 5:32 5:3

4
5
4
5

5:!! 5:32 5:36

o
b. .
L. G!r.
ne ones
ne ones

5:53

6:00

5:49
6:00 6:03 6:07
ne ones
behno !he ^uoence]
6:26

ne ones
behno !he ^uoence]
7:00