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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. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
Contact: a Journal for Contemporary Music (1971-1988) Citation
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Barry. Malcolm. 1977-1978. ‘Review of Company 1 (Maarten van Regteren Altena, Derek Bailey, Tristan Honsinger, Evan Parker) and Company 2 (Derek Bailey, Anthony Braxton, Evan Parker)’. Contact, 18. pp. 36-39. ISSN 0308-5066. ! Director Professor Frederick Rimmer MA B M us FRco Secretary and Librarian James. L McAdam BM us FRco Scottish R Music Archive with the support of the Scottish Arts Council for the documentation and study of Scottish music information on all matters relating to Scottish composers and Scottish music printed and manuscript scores listening facilities: tape and disc recordings Enquiries and visits welcomed: full-time staff- Mr Paul Hindmarsh (Assistant Librarian) and Miss Elizabeth Wilson (Assistant Secretary) Opening Hours: Monday to Friday 9.30 am- 5.30 pm Monday & Wednesday 6.00-9.00 pm Saturday 9.30 am- 12.30 pm .. cl o University of Glasgow 7 Lily bank Gdns. Glasgow G 12 8RZ Telephone 041-334 6393 37 INCUS it RECORDS INCUS RECORDS/ COMPATIBLE RECORDING AND PUBLISHING LTD. is a self-managed company owned and operated by musicians. The company was founded in 1970, motivated partly by the ideology of self-determination and partly by the absence of an acceptable alternative. The spectrum of music issued has been broad, but the musical policy of the company is centred on improvisation. Prior to 1970 the innovative musician had a relationship with the British record industry that could only be improved on. To be offered any chance to make a record at all was already a great favour and somehow to question the economics (fees, royalties, publishing) would certainly have been deemed ungrateful. -
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. -
Ultima Oslo Contemporary Music Festival on Nature
ultima oslo contemporary 10–19 september 2015 ultima music festival oslo contemporary music festival om natur 10.–19. september 2015 10.–19. on nature 1 programme THURSDAY 10 SEPTEMBER Lunchtime concert Henrik Hellstenius Ørets teater III: Ultima Academy Cecilie Ore Ultima Academy Eivind Buene Georg Friedrich Haas In Vain SATURDAY 19 SEPTEMBER Herman Vogt Om naturen (WP) Alexander Schubert in conversation Adam & Eve—A Divine Comedy Geologist Henrik H. Svensen The Norwegian Chamber Orchestra Ensemble Ernst Ultima Remake Concordia Discors, Études (WP) Oslo Sinfonietta / Dans les Arbres with rob Young 21:00 — Kulturkirken Jakob on issues in the Age of Man 19:00 — Universitetets aula 21:00 — Riksscenen Edvin Østergaard (WP) / 10:00 — Edvard Munch Secondary 12:00 — Loftet 19:30 — The Norwegian National Opera 14:00 — Kulturhuset p. 18 19:30 — Kulturhuset New music by Eivind Buene, plus the Spellbinding piece described as ‘an optical Jan Erik Mikalsen (WP) / Maja Linderoth School Piano studies with Ian Pace, piano & Ballet, (Also 12 and 13 September) p. 31 p. 35 pieces that inspired it illusion for the ear’” The Norwegian Soloists’ Choir Interactive installation created by pupils p. 19 Concert / performance Robert Ashley Perfect Lives p. 38 p. 47 13:00 — Universitetets gamle festsal p. 13 p. 16 Ultima Academy Matmos Ultima Academy p. 53 Installation opening and concert Music Professor Rolf Inge Godøy 22:00 — Vulkan Arena Musicologist Richard Taruskin on David Toop Of Leonardo da Vinci — James Hoff / Afrikan Sciences / Ultima Academy Elin Mar Øyen Vister Røster III (WP) Installation opening on sound and gesture American electronica duo perform cele- birdsong, music and the supernatural Quills / a Black Giant / Deluge (WP) Hilde Holsen Øyvind Torvund (WP) / Jon Øivind Media theorist Wolfgang Ernst 15:00 — Deichmanske Ali Paranadian Untitled I, 14:30 — Kulturhuset brated TV opera 20:30 — Kulturhuset Elaine Mitchener / David Toop 22:00 — Blå Ness (WP) / Iannis Xenakis on online culture and hovedbibliotek A Poem for Norway (WP) p. -
A History of Sound Art Arranged and Composed by J Milo Taylor Mixed by Joel Cahen
A History of Sound Art Arranged and Composed by J Milo Taylor Mixed by Joel Cahen A History of Sound Art - A5 24pp symbols.indd 1 24/1/11 14.35.28 » Sleep Research Facility d-deck » A Hackney Balcony » Cathy Lane » Ros Bandt 00:00 01:00 02:00 03:00 Introduction » Charlie Fox » Janet Cardiff » John Cage A History of Sound Art I listen, I hear, I obey. Does the exquisitely dissonant institution of Sound Art, and its subsequent ordering of desire, ensure that we subscribe to a genealogy I hear silence, an absent sense of through which it is governed? knowing, of the heard, that I project into In this composition I hear a rhizomic a future. As a listener at the end of this collective, which obeys, albeit work I feel like a wobbly toddler looking contradictorily, a government in the mirror and happily hallucinating in of past and future time. my own disunity. I am left with the idea ‘Tomtoumtomtoumtomtoum’; the ‘Cage’ of an uncomfortable wholeness. The of Sound Art’s past. I hear hindsight. reconciliation of sonic arts past with its ‘Bwwaaaaaaaaaaaaaaaaaa’; the future seems like an empirical illusion. sound of sonic arts future. Ennioa Neoptolomus A History of Sound Art - A5 24pp symbols.indd 2 24/1/11 14.35.29 » Brandon LaBelle » Marcel Duchamp Interview 02:00 03:00 04:00 05:00 06:00 Early Practices Dada » Enrico Caruso o sole mio » Janet Cardiff » Hugo Ball Karawane (1916) » Thomas Alva Edison Dickson Sound Film (1897) CATHY LANE Composer and sound designer. -
David Toop Ricocheting As a 1960S Teenager Between Blues Guitarist
David Toop Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes seven acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010) and Into the Maelstrom (2016), the latter a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize. Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released thirteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings on Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.” In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. -
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom. -
Matt's Gallery Presents TAPS
Matt ’s Galle ry presents TAPS: Improvisations with Paul Burwell at Dilston Grove (1 ) Southwark Park, London se16 2dd 17 –19 September 2010 t (020) 8983 1771 Press release Friday Continuous film screening 2–7pm. Performances by Melissa Castagnetto 7pm, Oren Marshall & Steve Noble 8pm, Yol 9pm Saturday Continuous film screening 2–7pm. Performances by Shaun Caton 2 –7pm, William Cobbing 7pm, Kaffe Matthews 8pm, Juneau Projects 9pm Sunday Continuous film screening 2 –7pm. Intermittent performance by Ryuzo Fukuhara 2 –7pm. Sunday closing view with final event including performance by Ansuman Biswas 6–8pm. (1) Dilston Grove is at the South - Paul Burwell was infamous for his exuberant fusions of fine-art installation, west corner of Southwark Park percussion and explosive performance. He was a staunch advocate of, and Train: Canada Water, Jubilee & Over - ground lines passionate participant in, all forms of experimental art. TAPS: Improvisa - Bus: 1, 47, 188, 225, 381, C10, P12 tions with Paul Burwell , realised by Anne Bean, Robin Klassnik and Richard (2) Live performers Wilson embodies his prolific practice. Ansuman Biswas | Melissa Castag - Over the course of three days TAPS will combine film, installation netto | Shaun Caton | William Cob - bing | Ryuzo Fukuhara | Juneau and performance, portraying layers of interpretation from more than 80 Projects | Oren Marshall & Steve invited collaborators, in response to Burwell’s poem ‘Adventures in the Noble | Kaffe Matthews | Yol House of Memory’. The poem arose from improvisations by Anne Bean and (3) Composite film, contributing Paul Burwell in preparation for William Burroughs’s Final Academy at Ritzy, artists Mark Anderson with Nick Sales & Jony Easterby | Anne Bean | London in 1982, where improvised words were written on huge sheets of Steve Beresford * | Steven Berkoff | flash paper which were ignited as they were sung. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
Pluralism in Contemporary Improvised Concert Music
Aalborg Universitet Pluralism in contemporary improvised concert music Bergstrøm-Nielsen, Carl Published in: Proceedings of the Vth European Music Therapy Congress in Castel Dell'Ovo, Napoli, Italy 20. - 24.4. 2001 Publication date: 2002 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Bergstrøm-Nielsen, C. (2002). Pluralism in contemporary improvised concert music. In D. Alridge, & J. Fachner (Eds.), Proceedings of the Vth European Music Therapy Congress in Castel Dell'Ovo, Napoli, Italy 20. - 24.4. 2001 (pp. 136-148) http://www.musictherapyworld.de General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 28, 2021 PLURALISM IN CONTEMPORARY IMPROVISED CONCERT MUSIC By Carl Bergstroem-Nielsen Paper from the 5 th European Music Therapy Congress, Napoli 20-24 April 2001. -
Bloomsbury MUSIC Cat.Indd
MUSIC & SOUND STUDIES 2013-14 CELEBRATING 10 YEARS 33 1/3 is a series of short books about popular music, focusing on individual albums by a variety of artists. Launched in 2003, the series will publish its 100th book in 2014 and has been widely acclaimed and loved by fans, musicians and scholars alike. LAUNCHING SPRING 2014 new in 2013 new in 2013 new in 2014 9781623562878 $14.95 | £8.99 9781623569150 $14.95 | £8.99 9781623567149 $14.95 | £8.99 new in 2014 new in 2014 new in 2014 Bloomsbury Collections delivers instant access to quality research and provides libraries with a exible way to build ebook collections. 9781623568900 $14.95 | £8.99 9781623560652 $14.95 | £8.99 9781623562588 $14.95 | £8.99 Including ,+ titles in subject areas across the humanities and social sciences, the platform features content from Bloomsbury’s latest research publications as well as a + year legacy including Continuum, Berg, Bristol Classical Press, T&T Clark and The Arden Shakespeare. ■ Music & Sound Studies collection ■ Search full text of titles; browse available in , including ebooks by speci c subject new in 2014 new in 2014 new in 2014 from the Continuum archive ■ Download and print chapter PDFs ■ Instant access to s of key works, without DRM restriction easily navigable by research topic ■ Cite, share and personalize content RECOMMEND TO YOUR LIBRARY & SIGN UP FOR NEWS ▶ 9781623561222 $14.95 | £8.99 9781623561833 $14.95 | £8.99 9781623564230 $14.95 | £8.99 REGISTER FOR LIBRARY TRIALS AND QUOTES ▶ bloomsbury.com • 333sound.com • @333books [email protected] www.bloomsburycollections.com BC ad A5 (music).indd 1 08/10/2013 14:19 CONTENTS eBooks Contents eBook availability is indicated under each book entry: Individual eBook: available for your e-reader.