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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. -
Kenny Wheeler Gnu High Mp3, Flac, Wma
Kenny Wheeler Gnu High mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Gnu High Country: Germany Released: 1976 Style: Contemporary Jazz MP3 version RAR size: 1354 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1647 mb Rating: 4.7 Votes: 634 Other Formats: MPC APE AA TTA MP3 MMF AAC Tracklist A Heyoke 21:47 B1 'Smatter 5:56 B2 Gnu Suite 12:47 Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Published By – ECM Verlag Recorded At – Generation Sound Studios Credits Bass – Dave Holland Composed By – Kenny Wheeler Drums – Jack DeJohnette Engineer – Tony May Flugelhorn – Kenny Wheeler Layout – B. Wojirsch* Mixed By – Martin Wieland Photography By [Cover] – Tadayuki Naito* Piano – Keith Jarrett Producer – Manfred Eicher Notes Recorded June 1975, Generation Sound Studios, New York City. An ECM Production ℗ 1976 ECM Records GmbH Printed in W. Germany Barcode and Other Identifiers Matrix / Runout (Side A runout, stamped): ST-ECM 1069-A Matrix / Runout (Side B runout, stamped): ST-ECM 1069-B Rights Society: GEMA Other versions Category Artist Title (Format) Label Category Country Year ECM ECM 1069, 825 Kenny Gnu High (CD, ECM 1069, 825 Records, Germany Unknown 591-2 Wheeler Album, RE) 591-2 ECM Records Kenny Gnu High (LP, 25MJ 3327 ECM Records 25MJ 3327 Japan 1976 Wheeler Album) ECM ECM 1069, ECM Kenny Gnu High (LP, ECM 1069, ECM Records, Germany Unknown 1069 ST Wheeler Album, RE) 1069 ST ECM Records ECM ECM 1069, Kenny Gnu High (CD, ECM 1069, Records, US 2008 B0011628-02 Wheeler Album, RE, Dig) B0011628-02 ECM -
Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time. -
3H3b &Eotercammemc
teptexber 13, 197G n mcry, 3h3b & eotercammemc ' ; i i -- JG2Z5 G3JJ Vy OTil 1 1 If I ( nil if f i If tI HI- ..I 11 v "l( II II k I..V J L" J I i V uvu Lauy M Xiw the material bi isvzzs there is never doubt whose album it really releasing psckr. Yet, any Siice there have been over 20 albums of this type mar- If yca're fcto are more 251 ca is. Tens and ttzs it is Wheeler's comrnasdsig pre- jzn, tlre jped tin, keted ia the last four months, a complete review is im- fa lisccla this astena thaa ever before. tence ca the Ihil horn that drives this music into new fre-qaen- and possible. Local dubs sre bcd? sets triS cy. territories, bis horn Caching with dramatic purpose Arista com- jrrz fccreas Spontaneous Combustion from Savoy Area jazz mtr.scfcrrs arc a ? to show- warmth. grtrj bines the first two sessions ever recorded by the great case their tslssti st the Zoo Car's masiSLIy KFlfQ Add l!asfred Eicfcers flawless production and you psa. Cannonba3 Adderiey. These 1955 recordings find Adder-ley-'s deovies two hours jazz-orient- ed one the best acoustic efforts. every to come wi& cf year's Bird-inspir- Ssnday cht cp JCSHhenched and ed sax wiA such mon- musie, and the word is that the soca wi3 be ex- Kcfc!e &bzt Gcsdea prcsram by Horace Silver and, of course, tended another hour. - John Gordon makes a notable debut. Step by Step, sters as Kenny Clarke, Nat. -
(Hg.) Menschliches Handeln Als Improvisation. Sozial- Und Musikwissenschaftliche Perspektiven
Ronald Kurt, Klaus Näumann (Hg.) Menschliches Handeln als Improvisation 2008-02-22 10-12-18 --- Projekt: transcript.titeleien / Dokument: FAX ID 0302171630609556|(S. 1 ) T00_01 schmutztitel - 754.p 171630609564 2008-02-22 10-12-18 --- Projekt: transcript.titeleien / Dokument: FAX ID 0302171630609556|(S. 2 ) T00_02 seite 2 - 754.p 171630609572 Ronald Kurt, Klaus Näumann (Hg.) Menschliches Handeln als Improvisation. Sozial- und musikwissenschaftliche Perspektiven 2008-02-22 10-12-18 --- Projekt: transcript.titeleien / Dokument: FAX ID 0302171630609556|(S. 3 ) T00_03 titel - 754.p 171630609580 Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Umschlaggestaltung: Kordula Röckenhaus, Bielefeld Umschlagabbildung: Matthias Kunert: Kindergeburtstag (3/5), © Photocase 2008 Lektorat & Satz: Ronald Kurt, Klaus Näumann Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-754-7 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] 2008-02-22 10-12-18 --- Projekt: transcript.titeleien / Dokument: FAX ID 0302171630609556|(S. 4 ) T00_04 impressum -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex. -
Download Publication
CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. -
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. -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
Steve Beresford - David Toop John Zorn - Tonie Marshall
Steve Beresford - David Toop John Zorn - Tonie Marshall Deadly Weapons nato 950 Illustration : Pierre Cornuel Steve Beresford : piano - David Toop : flûte, guitare, percussions John Zorn : saxophone alto, clarinette - Tonie Marshall : voix Sortie en magasin le 10 octobre 2011 Produit par Jean Rochard pour nato Distribué par l’Autre Distribution 02.47.50.79.79 Contact presse : Christelle Raffaëlli [email protected] 06 82 65 92 73 www.natomusic.fr DEADLY WEAPONS « Ca s’appelle un disque phare ou un diamant noir » (Première) Deadly Weapons est un album clé pour les disques nato. En 1985, John Zorn joue pour la première fois en France avec Steve Beresford et David Toop au festival de Chantenay-Villedieu. Deadly Weapons, réalisé l'année d'après, est la suite naturelle de ce concert remarqué. Steve Beresford, lui, est un des piliers de la maison ; avec Deadly Weapons, il synthétise ses éclectiques et fourmillantes approches en un seul projet. David Toop a déjà enregistré pour nato avec le groupe Alterations et participé à l'album de son compère Steve Beresford : Dancing the Line Anne Marie Beretta. Tous trois sont d'incorrigibles cinéphiles. Tonie Marshall est alors actrice, et quelle actrice ! Elle va bientôt passer de l'autre côté de la caméra et devenir une cinéaste de premier plan. Deadly Weapons est un disque-film comme les affectionne particulièrement la maison du chat. Il joue sur différents plans et s'en joue. Champ et hors-champ. Lors de sa sortie, il divise : le livret rappelle comment s’offusquèrent les puristes et comment se réjouirent les autres ! Si Deadly Weapons, premier album londonien de nato, ouvre bel et bien la marche (toujours randonneuse) de ce qui va suivre, il s'inscrit assez logiquement dans ce qui a précédé en affichant des libertés nouvelles et sa passion des images sans masques. -
The Compositional Language of Kenny Wheeler
THE COMPOSITIONAL LANGUAGE OF KENNY WHEELER by Paul Rushka Schulich School of Music McGill University, Montreal March 2014 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies ©Paul Rushka 2014 2 ABSTRACT The roots of jazz composition are found in the canon ofthe Great American Songbook, which constitutes the majority of standard jazz repertoire and set the compositional models for jazz. Beginning in the 1960s, leading composers including Wayne Shorter and Herbie Hancock began stretching the boundaries set by this standard repertoire, with the goal of introducing new compositional elements in order to expand that model. Trumpeter, composer, and arranger Kenny Wheeler has been at the forefront of European jazz music since the late 1960s and his works exemplify a contemporary approach to jazz composition. This paper investigates six pieces from Wheeler's songbook and identifies the compositional elements of his language and how he has developed an original voice through the use and adaptation of these elements. In order to identify these traits, I analyzed the melodic, harmonic, structural and textural aspects of these works by studying both the scores and recordings. Each of the pieces I analyzed demonstrates qualities consistent with Wheeler's compositional style, such as the expansion oftonality through the use of mode mixture, non-functional harmonic progressions, melodic composition through intervallic sequence, use of metric changes within a song form, and structural variation. Finally, the demands of Wheeler's music on the performer are examined. 3 Resume La composition jazz est enracinee dans le Grand repertoire American de la chanson, ou "Great American Songbook", qui constitue la plus grande partie du repertoire standard de jazz, et en a defini les principes compositionnels.