In
David Tudor has long been known as an influential yet enigmatic character who lived in many anecdotes and spoke only in riddles on the few occasions he did so. The beginning of this research was an accidental encounter with Tudor’s materials at the Getty Research Center, which revealed the possibility of actually examining what he left behind. I gradually began to realize that the endeavor might be best seen as a complex puzzle that Tudor had composed for posterity to solve. In order to cope with the many obstacles on the way, both technical as well as conceptual, I developed a circular method of approaching Tudor’s materials from the way Tudor approached his materials, a sort of reverse musicology which accumulates its tools and theories from the very object of research. Along the way there were some influences from critical organology or microhistory, but the most important discipline in solving Tudor’s puzzle was keeping the focus on the level of specificity without quickly resorting to generalizations.