24 research outputs found
Spontaneous music : the first generation British free improvisers
No full textThe British free improvisation scene originated in London and Sheffield during the
mid 1960s. In groups such as AMM, the Spontaneous Music Ensemble and Joseph
Holbrooke, a distinctive and ambitious musicality developed that still occupies most
of its protagonists forty years later.
Marked stylistic contrasts developed within the genre, notably the `atomistic' and
`laminar' methods of interaction. Nonetheless, a consistency of principle and practice
was also apparent that defined British free improvisation as unique. In some respects
the genre resembled its German, Dutch and American counterparts, and also the jazz
and classical avant-gardes that had inspired them. Both conceptually and practically,
however, clear differences remained.
The British free improvisers refined a method and an aesthetic of musical creativity,
which suggested an intimate perspective and a detailed analysis of that which we
accept as `music'. Its techniques and results were unconventional, but remained
consistent with music's defining concepts and experiences. As such, British free
improvisation suggested a more inclusive model of musicality than is common, and
implied a broad critique of the cultural values that define `music' at all. Though the
free improvisers themselves did not explicitly state the connection, their work may be
viewed in the context of Deconstruction: the post-structuralist analytical strategy
associated with philosopher Jacques Derrida.
British free improvisation culminated from innovations within the twentieth century
avant-garde. Referencing styles such as atonality and free jazz, it challenged the
aesthetic, technical and hierarchical standards of Western tradition in a form that was
striking and extreme, but also of logical development and focus. Free improvisation
owed explicit debt to a variety of other musics; its most singular achievement
however, was the redefinition of `rhythm' by which it disguised this fact.
The music of the first generation British free improvisers is reliant upon precise
conceptual and practical execution. But though this has enabled the genre to be
musically innovative, in the long term it has also become a logical problem. With
British free improvisation as its subject, the scrutiny of Deconstruction reveals
significant discrepancies between what `free improvisation' implies and what it
actually represents
Leluhelikvartetti - a hommage à Stockhausen
No full textLeluhelikvartetti (Toy Helicopter Quartet)
Leluhelikvartetti is an homage to Karlheinz Stockhausen's concept of the Helikopter- Streichquartett, wherein the players of a string quartet are placed in a helicopter each, together with a pilot and a broadcasting engineer equipped with a camera. The sound and images of the quartet are broadcast to a nearby concert venue, where the audience can hear the instruments' sound mix with the sound of the helicopters outside and watch the musicians perform on giant screens.
Leluhelikvartetti uses, due to funding cuts in academia throughout Europe, toy helicopters. As the toy helicopters don't accommodate much personnel, some trickery is needed, whereby the individual instruments' sound will seemingly, as per magic*, come from the helicopters flying around the performance space.
The Free Improvisation String Quartet, (FISQ, Hermanni Yli-Tepsa: Violin, Dominik Schlienger: Viola, Sergio Castrillon: Cello; Timo Pyhälä: Bass), in a further protest against any rules and regulations, will not adhere to any form of score, but will happily take cues and inspiration from the flight of the toy 'copters, in a audio-kinaesthetic conversation with the pilots.
The sound of the helicopter blades mixes with the sound of the actual instruments, the trajectories of the players through the performance space intermingle with the public, the flight of the helicopters respond to the musical dynamic. "
*The magic
------------
The performance space shall be a circular area of approx. 12 m diameter, wherein 4 toy quadcopters of type WLToys V262 are flown by 4 pilots, moving around freely. The audience surrounds this area. The players of FISQ are set-up somewhere at some distance from the performance area. Their instruments are close-miked, so that each instrument is available as one mono channel to the sound system at the centre of the performance space.
In the centre of the performance space stand 8 near coincident radially outwards facing loudspeakers of type Genelec 1029 or similar.
The loudspeakers send an acoustic measurement signal just above the frequency range audible to the human ear. (18 - 30 kHz)
The four toy helicopters are equipped with wireless microphones: Using time difference of arrival measurements by correlating the original signal on the loudspeakers with the measured signal on the helicopters, the positions in relation to the loudspeakers can be estimated.
The positions are then used to apply amplitude panning to the signal from the quartet's instruments, thus spatialising the quartet's sound as if each instrument was playing from one of the helicopters. (That is, for an audience surrounding the performance space.)
Further, the musicians of FISQ are also equipped with wireless audio senders, allowing them to move around freely during the performance.
The multiple layers of audio (Direct sound from the quartet; amplified sound through the loudspeaker array; the sound of the the helicopters) and the layers of movement (the helicopters trajectories; the musicians trajectories through the audience) create a densely woven spatial narrative.
The performance was recorded at the Klingt Gut! International Symposium on Sound in Hamburg, Germany in 2016
Modes of communication during jazz improvisation
No full textThis study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative
mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances
What is the Music of Music Therapy? An Enquiry into the Aesthetics of Clinical Improvisation
No full textIn many places in the Western world where music therapy occurs, improvisation is a significant and widespread practice in clinical work. The question of the nature of improvisation in music therapy is the topic of this enquiry, with particular reference to musical ontology and aesthetics.
I examine how a consideration of ontology enables a distinction to be drawn between the music made within the clinical setting, known as clinical improvisation, and music that is made elsewhere. The context for this enquiry is the music therapy practice of the UK. Through an examination of the recent history of this practice, I establish two distinct approaches to clinical improvisation in the UK, music-centred and psychodynamic. I show how there are different ontologies of music ‘at work’ between these two approaches. I also demonstrate how these distinctions manifest in the question of the location of the therapeutic effect: is it in the music or the therapeutic relationship? Finally, I examine the nature of clinical improvisation in relation to performance. I explain how a consideration of distinct ontologies of music within clinical improvisation indicates a further distinction between the music of music therapy and art improvisation that is made elsewhere
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
No full textMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Childe Roland: String Quartet, Percussion and Electric Guitar
No full textAn original composition in five movements for string quartet, percussion and electric guitar. Majority of the electric guitar parts are marked “quasi-improvisation”, with the intent of allowing the player freedom to explore their own creativity and expand upon the notated guitar parts as desired. The percussion parts, also marked “quasi-improvisation”, allow the player to expand upon the notated rhythms and choose their own combination of muted wood blocks as desired.
The name of this piece and its individual movements pay homage to the author Steven King and his series of books known as the The Dark Tower. Much of the music contained in this piece was written “under the influence” of The Dark Tower. Stand and be true
Composition portfolio & written commentary
No full textInterpreting a scored musical composition entails the composer’s relinquishing some control over the piece to the performer. In ‘open’ scores the composer relinquishes most control and in effect allows the performer to collaborate in the compositional process; in traditional scores the composer specifies as much as possible in order to leave little to no room for the performer to use personal judgment regarding interpretation. The principal focus of this portfolio will be to examine, through different scores and compositional techniques, a possible available spectrum between these two types of scores and to define more clearly different options presenting varying degrees of control over a score. The initial stimulus for this research stems from a fascination with alternative compositional scenarios that consequentially aid the creation of incidental musical materials that are not specified or scored. These moments resemble an improvisation in their immediacy of execution and erratic sound characteristics. Hence, it is this quality that many of the ‘open’ elements in these portfolio pieces try to extract, but not exclusively so. The thesis will also dwell on elements of performance psychology in attempts to better define the mechanisms at work in different interpretation/improvisation scenarios, as well as refer to non-classical musical traditions as an example of alternative didactic systems leading towards a non-score based, quasiimprovisational practice. Finally, each portfolio composition will be described in detail with a particular emphasis on its erratic sound-qualities, its ‘open’ element, or both
Composing for Instruments and Electronics; a commentary on my recent music
No full textThe research presented here illustrates my interest and response to composing for acoustic instruments and electronics through the presentation of a body of eclectic works which combine an improvisatory approach to writing for acoustic instruments with the use of the studio as a compositional tool. The commentary will seek to illustrate how bringing these approaches together has allowed for a diversity of sonic exploration that would not have been possible with purely acoustic or electronic resources. As well as providing some background information and a general descriptive breakdown of the structure of these works, the commentary will provide a more in-depth contextualisation, which serves to illustrate the various influences upon the works. I will conclude by illustrating where this research has taken me and give examples of possibilities for future exploration
Part I: Composition Portfolio ; Part II: The Integration of Free-Improvisation in the College Music Curriculum
No full textPart I: Composition Portfolio includes the scores of seven of my original compositions. Pelayo Finds the Old Man is a piece for flute, clarinet in B-flat, percussionist, and recording. Sre Koit is a choral piece written for a musical, and it incorporates vocal percussion, spoken text, and traditional singing technique. Silent State is an improvisatory piece for two performers, rocks, flags, piano, and body movement. The first three pieces above demonstrate collaborative works with theater and/or dance groups. I attended rehearsals with each group and this process informed my compositional choices. The following four pieces demonstrate a variety of styles, and include compositions for a diverse set of instrumental families. They show a spectrum of harmonic, temporal, and structural frameworks that I explored throughout the process. Joy Within from String Quartet no. 1 is the first of a three-movement piece. Guitar Quartet no. 1 explores the techniques unique to guitar. ...now...here for flutes and percussion, is a large ensemble work that incorporates a number of extended techniques for the flute. absolute elsewhere was written for Gamelan Encantada, a Javanese influenced American gamelan in pelog scale. Part II: The Integration of Free-Improvisation in the College Music Curriculum is a Music Education Project that argues for the inclusion of a free-improvisation forum in college music curricula. The diverse manifestations of improvisation are presented in a variety of published materials including histories, research, and methods. Non-academic sectors in which improvisation is practiced are explored, specifically the practices of music-therapists and their clients, and performing artists. A brief survey then demonstrates the status of improvisation course content in select colleges in the United States. Two original free-improvisation activities that I created are next presented in two field studies. I discuss the results of each session, through which I assert that the inclusion of free-improvisation in a college curriculum serves to fulfill three important objectives for musicians: 1) to reduce musical inhibitions by creating a safe space in which to explore musical creativity, 2) to allow participants to construct their own knowledge and meaning in music, thereby giving them more ownership of their education, and finally, 3) to expand the definition of music thereby broadening ones understanding, acceptance, and appreciation of a diversity of musical languages
Part I: Composition Portfolio ; Part II: The Integration of Free-Improvisation in the College Music Curriculum
No full textPart I: Composition Portfolio includes the scores of seven of my original compositions. Pelayo Finds the Old Man is a piece for flute, clarinet in B-flat, percussionist, and recording. Sre Koit is a choral piece written for a musical, and it incorporates vocal percussion, spoken text, and traditional singing technique. Silent State is an improvisatory piece for two performers, rocks, flags, piano, and body movement. The first three pieces above demonstrate collaborative works with theater and/or dance groups. I attended rehearsals with each group and this process informed my compositional choices. The following four pieces demonstrate a variety of styles, and include compositions for a diverse set of instrumental families. They show a spectrum of
harmonic, temporal, and structural frameworks that I explored throughout the process. Joy Within from String Quartet no. 1 is the first of a three-movement piece. Guitar Quartet no. 1 explores the techniques unique to guitar. ...now...here for flutes and percussion, is a large ensemble work that incorporates a number of extended techniques for the flute. absolute elsewhere was written for Gamelan Encantada, a Javanese influenced American gamelan in pelog scale.
Part II: The Integration of Free-Improvisation in the College Music Curriculum is a Music Education Project that argues for the inclusion of a free-improvisation forum in college music curricula. The diverse manifestations of improvisation are presented in a variety of published materials including histories, research, and methods. Non-academic sectors in which improvisation is practiced are explored, specifically the practices of music-therapists and their clients, and performing artists. A brief survey then demonstrates the status of improvisation course content in select colleges in the United States. Two original free-improvisation activities that I created are next presented in two field studies. I discuss the results of each session, through which I assert that the inclusion of free-improvisation in a college curriculum serves to fulfill three important objectives for musicians: 1) to reduce musical inhibitions by creating a safe space in which to explore musical creativity, 2) to allow participants to construct their own knowledge and meaning in music, thereby giving them more ownership of their education, and finally, 3) to expand the definition of music thereby broadening one’s understanding, acceptance, and appreciation of a diversity of musical languages.Music Composition and Music EducationMastersUniversity of New Mexico. Dept. of MusicObermueller, KarolaCarlow, ReginaObermueller, KarolaCarlow, ReginaHermann, RichardDalby, Bruc
