Dedi/seC(r)ATIONS is comprised of five arias for voice (male or female) and percussion, each separated by a brief interlude for percussion alone. The primary percussion instruments (which are used during the arias) are grouped at two stations, arranged at the far right and left sides of the stage. Connecting these stations are two parallel rows of percussion instruments forming a narrow corridor through which the percussionist passes during the interludes.

Each aria and interlude explores a different technical and/or notational approach: “should we not go in?” for voice and timpani follows a strict system in its organization and is notated conventionally; “(…at the 1369)” for voice and vibraphone is notated proportionally, allowing for some degree of flexibility between the parts; “The Cage” for voice and marimba is notated on an aleatoric grid, the structure and musical content of which is determined by rolling four dice; “re:Vinko” for voice, prepared timpani, and miscellaneous percussion instruments is notated in a somewhat free mobile format, with the performers following an independent set of directions provided within a series of boxes; and “Mr. P’s Epitaph” for voice and ocarina is a purely graphic score intended as an impetus for improvisation. The use of text ranges from more straightforward approaches (e.g., “(…at the 1369),” “should we not go in?”) to more flexible formats resulting from chance procedures (“The Cage”) or performer choice (“Mr. P’s Epitaph,” “re: Vinko”). The four interludes similarly reflect a diversity of technical and notational approaches.

Dedi/seC(r)ATIONS was composed between February and April of 1986 for tenor John Reager, to whom the work is dedicated.