Works whose makers are composers, and whose medium is a rule set: a page of written instructions, or a piece of software the players run while they perform. What is fixed is what each player is allowed to do and what they must wait for; what comes out is not. They are read here for what the rules require of the people performing them — who has to hear whom, who is allowed to decide, and what a player cannot do alone.
The group runs from 2015 to 2025. An earlier version of it, assembled on 2026-09-21, held five historical scores instead — Cardew’s The Great Learning Paragraph 7 (1968–71), Riley’s In C (1964), Wolff’s For 1, 2 or 3 People (1964), Oliveros’s Sonic Meditations (1971) and Zorn’s Cobra (1984). Those pages are still in the repository with publish: false and can be restored one at a time; the lineage they describe is the one this group continues.
Close calls. Tympanic Touch and Frontier and H3 are games with rules, scoring and, in two cases, software — they sit here rather than under game-studies because their makers are composers and the works are presented and judged as music. Cello Fortress goes the other way: its maker is a game developer, it is shown at game festivals, and it is filed under game-studies even though a cellist is improvising throughout. Sound of Light is filed under music-hci: nothing is composed, and what was built is an instrument for several hands at once.