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!!! Nature Study Notes, June 1969 ''Nature Study Notes'', collection of 'Improvisation Rites' published a few months after the 'Draft Constitution'.{br}From the very beginning the Scratch Orchestra took a conscious decision to make all their notations freely distributable, stating that the ''Scratch Music'' works were without copyright. One of their first collections of scores, published in 1969 and called ''Nature Study Notes: Improvisation Rites'', replaced the conventional copyright notice with the following: \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t No rights are reserved in this book of rites. They may be reproduced and performed freely. Anyone wishing to send contributions for a second set should address them to the editor: C.Cardew, 112 Elm Grove Road, London SW13.{br}— {small}Scratch Orchestra, Nature Study Notes: Improvisation Rites 1969, edited by Cornelius Cardew, London: Scratch Orchestra, 1969.{/small}\| Whilst rejections of copyright restriction were nothing new, both the Situationists and the folk singer Woody Guthrie had placed anti-copyright notices on their works, it is notable that the Scratch Orchestra also encouraged others to modify and add to their scores, stating that these may be incorporated into the next version. The works in ''Nature Study Notes'' are all textual instruction pieces. Few of them describe ways of making sound however, and instead focus around various social interactions that construct and play with power relations amongst the performers. —{small}Simon Yuill, ["All Problems of Notation Will be Solved by the Masses: Free Open Form Performance, Free/Libre Open Source Software, and Distributive Practice"\|http://www.lipparosa.org/essays/problemsofnotation.pdf]{/small} ---- ''Nature Study Notes'' is a collection of 152 written instructions or ‘scores’ that was published as a booklet by Cornelius Cardew at the beginning of the Scratch Orchestra in 1969. The scores are called ‘rites’ and were used in many of the early Scratch Orchestra concerts. In both the sense of limitation and of instigation, the Rites act, not as improvisations, but as frames for improvisation.{br}{small}{cap}^[[download pdf Nature Study Notes score\|http://improarchive2.brinkster.net/sonsn.pdf]^]{/cap}{/small} ''Nature Study Notes'' is a collection of notations, largely text scores described as ‘improvisation rites’ ^[the others categories are ‘Scratch Music’, ‘Popular Classics’, ‘Compositions’, and ‘Research Project’.^], composed and collated by members of what we would now term a collective of artists, musicians, trouble-makers, and thinkers. By any objective analysis, a significant number of the notations that make up ''Nature Study Notes'' fail to “not attempt to influence the music that will be played”, but the importance of the “community of feeling” cannot be underestimated as the underlying motivation for the majority, if not all, of the notations. What fundamentally differed in the case of ''Nature Study Notes'' was that its preparation required the establishment of a number of small ensembles existing within the overall ensemble. many aspects of ''Nature Study Notes'' are clearly avant-garde: * the dissolution of individual identities (the Rites in Nature Study Notes are ordered numerically in the order in which they were composed, irrespective of the composer (although the identity of individual composers has been retained through the use of initials and the explanatory notes at the end), a process that Cardew was to take further in ''Scratch Music'' (Cardew 1972) with authorship only decipherable through a graphic index); * the necessity of the performer to interpret the notation and to invent the sounding (or non-sounding) result (thus dissolving the distinction between composer and sound-producer and thus art and life); * the dissolution between audience and performers (as related by Carole Chant as she recounted Scratch Orchestra performances in the 70s) (Chant 2014). [Lee Higgins\|http://leehigginscm.org/]’ (Higgins 2012) exploration of [community music\|https://yorksj.academia.edu/LeeHiggins] as a field outside of formal institutions (Higgins 2012, 5) (and, one assumes, profit-driven circumstances) opens up a second avenue of attack to ''Nature Study Notes''. Although arguably the whole ethos of the Scratch Orchestra at the point of its founding was to dissolve leadership hierarchies, Cardew felt unable to resist his coronation as benign monarch (Tilbury 2008), and as a “skilled music leader”, facilitated the “group music-making experiences” (Higgins 2012, 5).{br} Arguably, much of Cardew’s work (especially if we consider the Scratch Orchestra as such) aims to do just this: educate performers to become not just better performers but better human beings. This aim was attenuated significantly when he discovered and was converted to the teachings of the Marxist-Leninist party but runs as a thread throughout much of his endeavours. For Higgins as for Cardew, music and working through music holds the key to preparing for the future (although Cardew was to lose faith in music’s ability to do anything as he busied himself in the work of the Party) and Higgins writes that “Activating a cultural democracy to come requires interstitial practices, one for which intervention, invention, dreaming, and faith form a backbone through which hospitality and friendship can emerge as a strategic praxis” (Higgins 2012, 173). This description could stand equally for the work of the Scratch Orchestra as for community music. —{small}John Hails, ["Performing the Scratch Orchestra’s Nature Study Notes: creating and exploring a third sphere through improvised communal action."\|http://researchrepository.napier.ac.uk/7657/1/Performing_the_Scratch_Orchestra.pdf]{/small} {br}{br} {small}Documentation :{/small} * {small}John Hails, "Performing the Scratch Orchestra’s Nature Study Notes: creating and exploring a third sphere through improvised communal action." http://researchrepository.napier.ac.uk/7657/1/Performing_the_Scratch_Orchestra.pdf {/small} * {small}Carl Bergstrøm-Nielsen, "Words as Music Notation (1998/2012)" http://vbn.aau.dk/files/65612885/Words_as_Music_Notation_1998_2012.pdf {/small} * {small}Michael Chant, "Music, Society and Progress" http://www.cornelius-cardew-concerts-trust.org.uk/papers/paper_02_chant.pdf {/small} * {small}Simon Yuill, "All Problems of Notation Will be Solved by the Masses: Free Open Form Performance, Free/Libre Open Source Software, and Distributive Practice" http://www.lipparosa.org/essays/problemsofnotation.pdf {/small} * {small}http://www.ewaeckerle.com/projectbox/Scratch-Orchestra/ {/small} * {small}https://szczelkuns.wordpress.com/2015/02/20/sunday-evening-at-cafe-oto-neo-scratch-orchestra-performance-based-on-nature-study-notes/ (with an audio radio programme by Carole Finer){/small} * {small}Lee Higgins, & Mantie, R. (2013). [Improvisation as Ability, Culture, and Experience\|https://www.academia.edu/5372572/Higgins_L._and_Mantie_R._2013_._Improvisation_as_Ability_Culture_and_Experience._Music_Education_Journal_100_2_38-44]. Music Education Journal, 100(2), 38-44.{br} https://www.academia.edu/5372572/Higgins_L._and_Mantie_R._2013_._Improvisation_as_Ability_Culture_and_Experience._Music_Education_Journal_100_2_38-44 {/small} * {small}Lee Higgins. (2012). Community Music: In Theory and Practice. Oxford University Press.{/small} * {small}Lee Higgins (2012). [One-to-One Encounters: Facilitators, Participants, and Friendship\|https://www.academia.edu/3629833/Higgins_L._2012_._One-to-One_Encounters_Facilitators_Participants_and_Friendship._Theory_into_Practice_51_3_159-166]. Theory into Practice, 51(3), 159-166.{br} https://www.academia.edu/3629833/Higgins_L._2012_._One-to-One_Encounters_Facilitators_Participants_and_Friendship._Theory_into_Practice_51_3_159-166 {/small} * {small}Lee Higgins (2008). [Community Music and the Welcome\|https://www.academia.edu/3629900/Higgins_L._2008_._Community_Music_and_the_Welcome._International_Journal_of_Community_Music_1_3_391-400]. International Journal of Community Music, 1(3), 391-400.{br} https://www.academia.edu/3629900/Higgins_L._2008_._Community_Music_and_the_Welcome._International_Journal_of_Community_Music_1_3_391-400 {/small} * {small}Lee Higgins. (2006). [Boundary-Walkers: Contexts and Concepts of Community Music\|https://leehigginscommunitymusic.files.wordpress.com/2010/01/boundary-walkers-lee-higgins-phd-2006.pdf]. Ph.D. University of Limerick, Limerick.{br} https://leehigginscommunitymusic.files.wordpress.com/2010/01/boundary-walkers-lee-higgins-phd-2006.pdf {/small} * {small}^[[download pdf Nature Study Notes score\|http://improarchive2.brinkster.net/sonsn.pdf]^]{/small} {br}{br} \|t [../files/articles/cardew/cardew61_nature_a.jpg] \|t [../files/articles/cardew/cardew61_nature_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_f.jpg\|../files/articles/cardew/cardew61_nature_f_b.jpg] \|t [../files/articles/cardew/cardew61_nature_g.jpg\|../files/articles/cardew/cardew61_nature_g_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_h.jpg\|../files/articles/cardew/cardew61_nature_h_b.jpg] \|t [../files/articles/cardew/cardew61_nature_i.jpg\|../files/articles/cardew/cardew61_nature_i_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_j.jpg\|../files/articles/cardew/cardew61_nature_j_b.jpg] \|t [../files/articles/cardew/cardew61_nature_k.jpg\|../files/articles/cardew/cardew61_nature_k_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_l.jpg\|../files/articles/cardew/cardew61_nature_l_b.jpg] \|t [../files/articles/cardew/cardew61_nature_m.jpg\|../files/articles/cardew/cardew61_nature_m_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_n.jpg\|../files/articles/cardew/cardew61_nature_n_b.jpg] \|t [../files/articles/cardew/cardew61_nature_o.jpg\|../files/articles/cardew/cardew61_nature_o_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_p.jpg\|../files/articles/cardew/cardew61_nature_p_b.jpg] \|t [../files/articles/cardew/cardew61_nature_q.jpg\|../files/articles/cardew/cardew61_nature_q_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_r.jpg\|../files/articles/cardew/cardew61_nature_r_b.jpg] \|t [../files/articles/cardew/cardew61_nature_s.jpg\|../files/articles/cardew/cardew61_nature_s_b.jpg]\| \|t [../files/articles/cardew/cardew61_nature_t.jpg\|../files/articles/cardew/cardew61_nature_t_b.jpg] \|t \| {br}{br}----
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