The Compositional Language of Kenny Wheeler
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tese Correções Defesa-23-7-16
! ALEXANDER SCRIABIN THE DEFINITION OF A NEW SOUND SPACE IN THE CRISIS OF TONALITY Luís Miguel Carvalhais Figueiredo Borges Coelho Tese apresentada à UniversidadeFiguiredo de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Musicologia ORIENTADORES: Paulo de Assis Benoît Gibson ÉVORA, JULHO DE 2016 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA ALEXANDER SCRIABIN THE DEFINITION OF A NEW SOUND SPACE IN THE CRISIS OF TONALITY Luís Miguel Carvalhais Figueiredo Borges Coelho Tese apresentada à Universidade de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Musicologia ORIENTADORES: Paulo de Assis Benoît Gibson ÉVORA, JULHO DE 2016 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA iii To Marta, João and Andoni, after one year of silent presence. To my parents. v ACKNOWLEDGEMENTS I would like to express my gratitude to my friend Paulo de Assis, for all his dedication and encouragement in supervising my research. His enthusiasm, knowledge and always-challenging opinions were a permanent stimulus to look further. I thank Benoît Gibson for having accepted to co-supervise my work, despite my previous lack of any musicological experience. I extend my gratitude to Stanley Hanks, whose willingness to supervise my English was only limited by the small number of pages I could submit to his advice before the inexorable deadline. Thanks are also due to my former piano teachers—Amélia Vilar, Isabel Rocha, Vitaly Margulis, Dimitri Bashkirov and Galina Egyazarova—for having taught me everything I know about music. To my dear friends Catarina and André I will be always grateful: without their indefatigable assistance in the final assembling of this dissertation, my erratic relation with the writing software would have surely slipped into chaos. -
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. -
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. -
Prospectus 19/ 20 Trinity Laban Conservatoire Of
PROSPECTUS 19/20 TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE CONTENTS 3 Principal’s Welcome 56 Music 4 Why You Should #ChooseTL 58 Performance Opportunities 6 How to #ExperienceTL 60 Music Programmes FORWARD 8 Our Home in London 60 Undergraduate Programmes 10 Student Life 62 Postgraduate Programmes 64 Professional Development Programmes 12 Accommodation 13 Students' Union 66 Academic Studies 14 Student Services 70 Music Departments 16 International Community 70 Music Education THINKING 18 Global Links 72 Composition 74 Jazz Trinity Laban is a unique partnership 20 Professional Partnerships 76 Keyboard in music and dance that is redefining 22 CoLab 78 Strings the conservatoire of the 21st century. 24 Research 80 Vocal Studies 82 Wind, Brass & Percussion Our mission: to advance the art forms 28 Dance 86 Careers in Music of music and dance by bringing together 30 Dance Staff 88 Music Alumni artists to train, collaborate, research WELCOME 32 Performance Environment and perform in an environment of 98 Musical Theatre 34 Transitions Dance Company creative and technical excellence. 36 Dance Programmes 106 How to Apply 36 Undergraduate Programmes 108 Auditions 40 Masters Programmes 44 Diploma Programmes 110 Fees, Funding & Scholarships 46 Careers in Dance 111 Admissions FAQs 48 Dance Alumni 114 How to Find Us Trinity Laban, the UK’s first conservatoire of music and dance, was formed in 2005 by the coming together of Trinity College of Music and Laban, two leading centres of music and dance. Building on our distinctive heritage – and our extensive experience in providing innovative education and training in the performing arts – we embrace the new, the experimental and the unexpected. -
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. -
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. -