Social Ecologies in Critical Texts Claire M
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
Final Thesis.Pdf
An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis. -
Contextualizing My Self-Idiom
CONTEXTUALIZING MY SELF-IDIOM: THE MAKING OF TERMINAL by AARON MICHAEL LEVY TIMOTHY FEENEY, COMMITTEE CHAIR CHARLES SNEAD AMIR ZAHERI DON FADER JACOB ADAMS ANDREW RAFFO DEWAR A RECORDING AND MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright Aaron Michael Levy 2019 ALL RIGHTS RESERVED ABSTRACT This document serves as an accompanying manuscript to my improvisational percussion album, Terminal. This music comes after five years of study and performance, and is a recent demonstration of my current sound; three pieces that draw on the influences of stylistic pioneers. Improviser and scholar Mike Bullock labels this method using the term self-idiomatic music. In this concept, a musician develops a unique aesthetic by making decisions in the moment of performance, drawing on a personal vocabulary of sounds, and rules for their deployment. The music recorded on Terminal is based on a culmination of my musical life that blends elements of many genres and styles. I have been inspired by the noise of Jason Lescalleet, the deep listening and stillness of Pauline Oliveros and Morton Feldman, the harmonic clouds of Sarah Hennies, the textures and layers of AMM, the jazz-like improvisation of Anthony Braxton, and the sound installations of Olivia Block, among others. In this paper, I examine writings and compositions by these musicians, and describe how my interactions and experiences with them led me to discover my self-idiom. ii DEDICATION This work is dedicated to Casey, who has been an ongoing voice of encouragement and love during this process. -
'The Construction and Application of A
Experimental Music Catalogue: Article Archive The following is one of a number of articles, speeches, and documents that may be of use to the experimental music scholar. Permission is granted to quote short passages of the following article in publication, as long as credit is given to the author. For full reproduction and other uses, please contact the Experimental Music Catalogue at [email protected]. The Construction and Application of a Model for the Analysis of Linear Free Improvised Music Bruce Coates MA This is a more or less unvarnished version of a paper that I initially presented at The 4th European Music Analysis Conference, Rotterdam in 1999 and again in a slightly altered form at De Montfort University in 2000. It sets out my first attempts to device a system to analyse what Derek Bailey once described as the un- analysable (Wittgenstinians I know what you’re thinking!). It is a much-reduced version of my Masters thesis, which I completed at De Montfort University in 1998 (if anyone is interested in seeing more feel free to contact me). Inevitably, my thinking has moved on since writing this and quite a lot of what I wrote then now seems naive (one reason why I haven’t tried to alter the paper). However, I present it here because I feel that it contains some useful ideas about a still largely neglected area of study. Bruce Coates 2002 Abstract THE ANALYSIS of Free Improvised music is uncommon perhaps because it does not have a set of agreed rules from which it may be said to adhere or deviate. -
A History of Electronic Music Pioneers David Dunn
A HISTORY OF ELECTRONIC MUSIC PIONEERS DAVID DUNN D a v i d D u n n “When intellectual formulations are treated simply renewal in the electronic reconstruction of archaic by relegating them to the past and permitting the perception. simple passage of time to substitute for development, It is specifically a concern for the expansion of the suspicion is justified that such formulations have human perception through a technological strate- not really been mastered, but rather they are being gem that links those tumultuous years of aesthetic suppressed.” and technical experimentation with the 20th cen- —Theodor W. Adorno tury history of modernist exploration of electronic potentials, primarily exemplified by the lineage of “It is the historical necessity, if there is a historical artistic research initiated by electronic sound and necessity in history, that a new decade of electronic music experimentation beginning as far back as television should follow to the past decade of elec- 1906 with the invention of the Telharmonium. This tronic music.” essay traces some of that early history and its —Nam June Paik (1965) implications for our current historical predicament. The other essential argument put forth here is that a more recent period of video experimentation, I N T R O D U C T I O N : beginning in the 1960's, is only one of the later chapters in a history of failed utopianism that Historical facts reinforce the obvious realization dominates the artistic exploration and use of tech- that the major cultural impetus which spawned nology throughout the 20th century. video image experimentation was the American The following pages present an historical context Sixties. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Buck, Graham. 1973-1974. ‘Experimental Music Catalogue: Eddie Prévost: Spirals and Richard Reason: Games for Musicians’. Contact, 7. pp. 27-29. ISSN 0308-5066. ! experimental • mUSIC catalogue Eddie. SPIRALS (75p) Richard, Reason: FOR !{USICIANS (£1.25) . .Both these works have been around for some time.. Spirals 0967) . · 'a graphic described as na piece for playing or contemplation" • . The score iuel£ ' is rather like bacilli beneath a microscope: four interlocking ellipses of different sizes are enclosed in a circle, and are each to be used as a stimulus for musical improvisation. The circle itself may also be treated as a section of a helix. Each spiral is a . different world- relating only to itself intuitively, to those one step larger and smaller. · Unfortunately, any player vho tries to follow the instruction that "each player will gradually progress along the spiral in any way he chooses" will find himself going round in circles, as these are not spirals but chains of ellipses. I imagine thia is merely a pedantic .point and <tui te irrelevant .to any inspired performance of the work. For: '• "The outer circle ••..• (is) a cross section of a spiral· and as such it can only represent one time. The score can therefore only be conceived by the player at time of the performance. n Like many graphic works, ?.pi :::als may stand or fall as visual art, but it may only ultimately be judged by the realisation of accomplished performers. The two remaining members of AMM, Lou Gare· and Eddie hil!lSelf, are primarily jazz musicians and the piece seem.c; to have the a.nd something of the structut:e, of a jazz composition. -
Keith Rowe New Traditionalism
September 2011 | No. 113 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Keith Rowe New Traditionalism Hal Galper • The Necks • Rastascan • Event Calendar Only those living under rocks not bought during the housing bubble could be unaware of the recent debates going on in the nation’s capital about the country’s economic policies. Maybe some jazz musicians, who know how to stretch a dollar New York@Night and live with crushing financial insecurity, could have helped defuse the crisis. We 4 also have been reporting on the unilateral decision by the National Academy of Interview: Hal Galper Recording Arts and Sciences to remove Latin Jazz from its Grammy Award categories (along with a number of other ‘underperforming’ genres). There have 6 by Ken Dryden been protests, lawsuits and gestures in an attempt to have this policy reversed. Artist Feature: The Necks Though compared to a faltering multi-trillion dollar economy, the latter issue can seem a bit trivial but it still highlights how decisions are made that affect the by Martin Longley 7 populace with little concern for its input. We are curious to gauge our readers’ On The Cover: Keith Rowe opinions on the Grammy scandal. Send us your thoughts at feedback@ by Kurt Gottschalk nycjazzrecord.com and we’ll publish some of the more compelling comments so 9 the debate can have another voice. Encore: Lest We Forget: But back to more pleasant matters: Fall is upon us after a brutal summer 10 (comments on global warming, anyone?). As you emerge from your heat-induced George Barrow Jimmy Raney torpor, we have a full docket of features to transition into long-sleeve weather. -
Wisdom of the Impulse on the Nature of Musical Free Improvisation Part 1
Wisdom of the Impulse On the Nature of Musical Free Improvisation Part 1 Tom Nunn © 1998 Pdf edition, 2004 ISBN 87-91425-02-6 (Part1) For technical reasons, the document had to be divided into two parts. Please see continuation in Part 2. PUBLISHER's NOTE This pdf freeware edition was made for the website International Improvised Music Archive (IIMA) in agreement with the author on the basis of the printed book and its data files. There are no changes in the contents, however there are some adjustments for technical reasons. Footnotes have been integrated into the text to avoid any navigation problems. Please be advised that page numbers do not match the printed edition and that some details differ, as slight changes to available files were made by the author before printing. An index has been preserved here as Appendix D without the page numbers. Carl Bergstroem-Nielsen. CONTENTS [The reader is advised to use the bookmarks for navigating within the text - this can, however, serve as an overview. Please note that you must have both Part 1 and Part 2 to be able to view the entire document.] [Part 1:] PREFACE CHAPTER 1. PURPOSE AND APPROACH Purpose Approach CHAPTER 2. ORIGINS OF THE PRACTICE Improvisation in the History of Western Classical Music Sources Jazz Jazz Since 1960 Relationship of Jazz to Free Improvisation New Music and the Evolution of Free Improvisation Improvisation, Chance and Indeterminacy The Evolution of Free Improvisation as a Practice Conclusion CHAPTER 3. TERMINOLOGY Terms Free Improvisation Sound Influence Context Impulse Improvisational Milieu Content Linear Functions Identities Relational Functions Transitions Gestural Continuity/Integrity Segmental Form Meta-Style Contextualization Projection Flow Perception Impression CHAPTER 4. -
Workshop Piece
AMM — historical precedence and theoretical precedents for the workshop AMM — historical and theoretical precedents for the workshop Informal ‘sound’ has a power over our emotional responses that formal ‘music’ does not, in that it acts subliminally rather than on a conscious cultural level. This is a possible definition of the area in which AMM is experimental. We are searching for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them. The search is conducted in the medium of sound and the musician […] is at the heart of the experiment. 1 In 1999 I returned from a jazz festival and colloquium in Guelph, Canada and decided to set up and develop an improvisation workshop. This was to test, with others, if there was any continuing momentum and meaning in the kind of practice I had been part of, and subject to, within the ensemble AMM. The reputation of AMM might be enough to encourage the curious. Whether a significant amount would stay the course and help explore and develop a unique theory of improvisation was another matter. Only time would tell whether I would become more (or less) convinced of the efficacy of this practice. That was sixteen years ago. People are still coming. I have heard much music. I have learnt things. Made many friends. The following is a brief historical account of how I perceived AMM and my consequent thoughts about the theoretical basis of our shared experiences and how this has been extended and applied to a continuing cohort who share making music with others at our London workshop meetings. -
Dossier De Presse
rec t ic idph cieé us , lqp Dossier de presse iuoJ euo r n " qAMH uka ias l rs Die safl etal sr taS bt cirt o er nJea catv ov a caei t"nl é, l , cé qo aum uipv tlae o gc en bnip arel pe é tgd ieh s o étDr rhe Fea o fd uae rv AMR / Sud des Alpes 10, rue des Alpes, 1201 Genève te T + 41 22 716 56 30 / F + 41 22 716 56 39 hcYi www.amr-geneve.ch os Wlut Contact médias: Leïla Kramis oes [email protected], tél: 022 716 56 37/ 078 793 50 72 rs l e Photos: http://www.amr-geneve.ch/33e-amr-jazz-festival dmf Compilation des groupes du festival disponible sur demande uo (sen qit 33e AMR Jazz Festival – dossier de presse 1 uc aiPB tea Table des matières I. L’AMR EN BREF................................................................................................................................. 3 II. SURVOL DES CONCERTS............................................................................................................... 4 III. DOSSIERS ARTISTIQUES............................................................................................................... 5 SUIDI'S............................................................................................................................................. 5 CRAIG TABORN SOLO................................................................................................................... 9 SEBASTIEN AMMANN QUARTET.................................................................................................10 STARLIGHT A.K.A SLAVIN/ELDH/LILLINGER...............................................................................13