The repertoire to be presented by counter)induction on 16 October may not clarify these questions, but i think that they will at least provide some navigation buoys for our discussion.Complete program information (and a fair amount about the composers and repertoire) can be found here : Bigmouths. The works c)i will be performing will be two new works, one by myself, tentatively titled A Study for Etude II, and a quintet for the counter)induction core ensemble by Chris Lightcap. We will also perform Earle Brown's Music for Cello and Piano; and Vinko Globokar's La Ronde.It seems inevitable that a concert like this would have a work by Earle Brown on it— one of the great proponents and practitioners of 'open forms', Brown has shaped many of the approaches to open form and the re-imergence of improvisation in 20th Century concert music. Music for Cello and Piano is in some ways one of his more 'closed' scores, though still giving a tremendous degree of freedom to performers. Vinko Globokar's La Ronde, as one expects from works of Globokar's works of this period is more a shorthand for communication in improvisation within a community of performers. These works are excellent loci for consideration of the efficacy of the recoverability conditions in definitions of the ontological status of the work. My work (Study for Etude {working title}) is one of a series of recent works (including Forks of Buffalo, to performed on Sept. 30 at Tenri (apologies for the shameless plug.) which are open forms, in the Boucourechliev tradition but with an emphasis on the game-like elements of real-time decision making on the part of the performers. (Charts and graphs will follow in a later post, never fear)Interestingly, Chris Lightcap's new quintet for c)i (spoilers ahead) will not feature much if any improvisation; it will be interesting to consider this work in light of the "works" (or "tunes" or "songs" or whatever we eventually decide to call them!) written by CL for his quintet on the same program.