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<!--In a nearly one hour long interview Burrows explains the way in which-->
<!--he works with scores, giving mostly examples from his choreographies:-->
<!--<cite>the film choreography Hands</cite> (1995), <cite>The Stop Quartet</cite> (1996), <cite>Both-->
<!--Sitting Duet (2002)</cite>. <cite>Hands, made for television</cite> in 1995, for the-->
<!--BBC/Arts Council, was the first time Jonathan worked with a score.-->
<!--However, The Stop Quartet, a piece for four dancers made in 1996, is-->
<!--the first score discussed here.-->
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<h1>Jonathan Burrows on Scores</h1>
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This path was created on the 7<sup>th</sup> of June and was last
edited on the 19<sup>th</sup> of June. It last for 43 minutes and
39 seconds and goes through 19 connexions. It is tagged <a href="#">score</a>, <a href="#">the quiet dance</a>
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<p>
In a nearly one hour long interview Burrows explains the way in which
he works with scores, giving mostly examples from his choreographies:
<cite>the film choreography Hands</cite> (1995), <cite>The Stop Quartet</cite> (1996), <cite>Both
Sitting Duet (2002)</cite>. <cite>Hands, made for television</cite> in 1995, for the
BBC/Arts Council, was the first time Jonathan worked with a score.
However, The Stop Quartet, a piece for four dancers made in 1996, is
the first score discussed here.
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<div class="connexion">
The Tuning Scores
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<img src="static/img/screenshot.jpg" />
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<p>
Jonathan Burrows contextualizes the interview in 2011: “The
memory is very clear of Myriam talking with me about The Stop
Quartet and Both Sitting Duet. The conversation challenged me
to attempt to articulate what it was that I thought I was
doing: why I wanted to work in this way with rhythm and
counterpoint, and how I was thinking about materials and
performance. My feeling re-reading the interview is that I was
struggling to make sense of what was in my mind, and I think
I’ve said it perhaps more clearly since, but the talk provoked
a particular line of questioning which stays relevant for me
even now.”
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Jonathan Burrows on scores.ogg
#00:05
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<p>
Jonathan Burrows introduces the principles of The Stop Quartet.
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The Tuning Scores
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<img src="static/img/screenshot.jpg" />
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<p>
Matteo Fargion assisted Burrows in making the score for The
Stop Quartet. One of the other musical collaborators for that
piece, Kevin Volans, had introduced them to a scored way of
working by Shobana Jeyasingh, a South Indian choreographer,
based in London, who previously worked with Volans. Burrows is
interested in Jeyasinghs method to use graph pahper, but when
trying to compose in a similar way he “ran into a mess” and
with the help of Matteo he then used another related notational
system based on an African method of notating rhythm systems.
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