Walking from scores : an anthology of text and graphic scores to be used while walking = une anthologie de partitions verbales 8 graphiques à utiliser en marchant / edited by = réunies et présentées par Elena Biserna, with scores and texts by = avec des partitions et des textes de Peter Ablinger [and others].

Incluye partituras de acción de Peter Ablinger, Milan Adamčiak, G. Douglas Barrett, Elena Biserna, Blank Noise, George Brecht, Cornelius Cardew, Stephen Chase, Giuseppe Chiari, Seth Cluett, Philip Corner, Viv Corringham, Bill Dietz, Amy Dignam, David Dunn, Haytham El-Wardany, Esther Ferrer, Simone Forti, Francesco Gagliardi, Jérôme Giller, Oliver Ginger, Anna & Lawrence Halprin, David Helbich, Dick Higgins, Christopher Hobbs, Jérôme Joy, katrinem, Debbie Kent, Bengt af Klintberg, James Klopfleisch, Milan Knížák, Alison Knowles, Takehisa Kosugi, Jirí Kovanda, Anne Leilehua Lanzilotti, Bob Lens, Ligia Lewis, Alvin Lucier, Walter Marchetti, Larry Miller, iLAND/Jennifer Monson, Max Neuhaus, Alisa Oleva, Pauline Oliveros, Yoko Ono, Open City & Emma Cocker, Nam June Paik, Michael Parsons, Ben Patterson, Cesare Pietroiusti, Mathias Poisson, Anna Raimondo, Pheobe riley Law, Jez riley French, Paul Sharits, Mieko Shiomi, Mark So, Standards, Nicolas Tardy, Davide Tidoni, Ultra-red, Isolde Venrooy, Carole Weber, Manfred Werder, Franziska Windisch, Ben Vautier, La Monte Young.

"Throughout the twentieth century, musicians frequently incorporated quotations from works by other musicians into their own compositions and performances. When a musician borrows from a piece, he or she draws not only upon a melody but also upon the cultural associations of the original piece. By working with and altering a melody, a musician also transforms those associations. This book explores that vibrant practice, examining how musicians have used quotation to participate in the cultural dialogues sustained around such areas as race, childhood, madness, and the mass media. The focus of this study is broad, discussing pieces in a spectrum of musical styles (classical, experimental, jazz, and popular) as well as works in the other arts. Part of the young and quickly growing field of study examining musical borrowing, this book takes an important step in discussing the wider cultural ramifications of quotation." (cubierta posterior)