Post-Acousmatic Practice: Re-evaluating Schaeffer`s heritage. Monty
... pursue careers as independent freelance artists” (Demers, 2010: 145). To this list of those
sympathetic to or advocating such an aesthetic position could be added artists as diverse as
Helena Gough, Hanna Hartman, Matthew Herbert, Giuseppe Ielasi and ErikM.
The term ‘acousmatic’ has in general parl ...
Chapter 2 ELEMENTS AND CONCEPTS OF MUSIC
... feature of a performance of that piece. Instead, it is often the improvisation that is the focus
of attention, and by definition, the improvisations will vary from performance to performance
of the same piece.
A typical performance of a jazz composition may last for ten minutes, of which only two
York: Oxford University Press, 1995. xvi, 323 pp.
... of 1951 differs little from the work of Parker and Gillespie, no matter how
much superficial characteristics may suggest otherwise. When a jazz musician of today improvises in a similar fashion, the result is called bebop,
regardless of the prevailing stylistic setting.
Two elements that have charac ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... members of the Quintette du Hot Club de France in 1934, innovative at that time as a jazz
ensemble as it had no wind instruments, piano, or drum set.
Stuff Smith was another early major figure in jazz violin active from the early
1930s. Smith was classically trained by his father, but as he develop ...
Creative Practice as Research
... soloist by appropriate musical responses. The improvisation is given melodic, harmonic and
formal structure as it is required to develop the thematic material, pass through given chord
progressions and only last for the prescribed number of bars.
From Voice to Keyboard - Pavia University Press
... Peter Schubert is a professor at McGill University's Schulich School of Music. He has
published two textbooks on counterpoint and numerous articles on Renaissance music.
He conducts VivaVoce, an ensemble that has recently released several CDs. He has
posted videos onYouTube illustrating the use of i ...
... improvisation, the only threads holding the work together
being the underlying harmonies played by the rhythm
section. Sometimes improvisation included references to
the original melody or to other well-known melodic lines
("allusions," or "riffs"). Sometimes they were entirely
original, spontaneous ...
Improvisation in Early Music Author(s): Ben Bechtel Source: Music
... Baroque music needs to have a solid grounding in those styles' most essential improvisatory features so
that he or she can make spontaneous and musically appropriate
choices when performing music
written prior to 1750. However,
performers still must rely on a basic musical sense that in many respect ...
Antecedent-Consequent Phrases», Part 1
... The Jazz Language
It is not uncommon to speak of jazz as a language. Many books have been
written on the subject, expounding on the uniqueness of this indigenous
American art form. If jazz is a language, then it must have its own musical
vocabulary, its own distinctive words and phrases that must be ...
John Cage and Improvisation – An Unresolved
... Bernstein chose to present Atlas Eclipticalis together with works by Morton Feldman
(…Out of “Last Pieces”) and Earle Brown (Available Forms II) at the New York
Philharmonic’s concerts on 6-9 February 1964. Perhaps because of Bernstein’s
perception of a certain “improvisatory” quality of the chosen ...
01_front - Massey Research Online
... This thesis examines the unique musical and cultural elements particular to jazz improvisation. The
topics of scales, melody, voicings, harmony and rhythm are examined in separate chapters with over
two hundred notated musical examples used to demonstrate the materials in their context. This thesis
... Coleman has said that one of the basic ideas of his music is to
encorage the improvisor to be freer, and not to obey preconceived chord-pattern according to set ideas of „proper“
harmony and tonality: „ Let‘s play the music and not the
„The most important thing was for us to play togeth ...
Comparative (Ethno)Musicology. - Institut 13: Ethnomusikologie
... early scholars such as Hornbostel did not always construct grand comparative
schemes in the way that for example Mieczyslaw Kolinski (1961; 1965) and Alan
Lomax (1968) did later; but there is a comparative approach in Hornbostel’s
general outline of small studies, which are all organized along the s ...
... in which a musical text is written. For beginners the objective of this subsidiary subject is not,
therefore, to train competent accompanists but rather to give the player or singer the
wherewithal to base his or her interpretation on a well-founded analysis of the piece. For
students who already ha ...
Blues and the Pentatonic Scale
... responsibility of the improvising artist. Whether shredding up a Stratocaster solo, blowing
changes on the bandstand, or spontaneously changing keys, tempo and meter, the improvising
musician must master all elements of musical construction and form.
Melodic Techniques in Jazz Improvisation
... improvising?" - lead me to begin the discussion with a definition of melody
and of melodic playing, and then to present an overview of the topics that
I'll address in subsequent columns - the compositional techniques of
melody writing, those aspects of a solo which lead us to think of it as
Pedagogical strategies for free improvisation - Stoa
... of the Fugue, Beethoven’s Symphonies, Schoenberg’s pieces etc. Moreover, there are
a lot of great jazz musicians like Charlie Parker, John Coltrane, Ornete Coleman and
many others, who create their performances by using this kind of approach: picking
up motifs and developing it through the chord cha ...
Language of Jazz pdf
... using lead sheets, their own transcriptions
from albums and eventually their own
Wells Cathedral School Jazz Saxophone Programme Personnel
... Jazz Ensemble: the junior or training big band. This too is well established. Edward Leaker is the director of this group and meets
Jazz Combo:This is a small band of piano, bass, drums and a front line of one or two saxophonists and brass players. It is directed
by Andy Tweed and works on j ...
... From poor Russian-Jewish family
Founded a big band orchestra and was featured
on national radio show “Let’s Dance”
Performed as both a jazz and classical artist on
Improvisation in Iranian and Indian music
... performance” might be more appropriate than “improvisation”. By “compositional”, we
mean to imply a certain quality of considered crafting usually associated with written
Indeed, looking at the work of Western scholars writing in the early to mid-20th
century, it can be seen that the use o ...
VIEW THIS PAGE
... An approach to improvisation begun in the 1950s
in an attempt to let solos off the leash imposed
by a repeated theme or chord pattern — and to
let groups improvise collectively, with the players
listening and reacting instantly to each other’s ideas.
Check out Ornette Coleman: Free Jazz.
Indian Music - Ms Jones` GCSE Class
... • Improvisation takes place according to strict rules
of each particular Rag being performed.
• Musicians learn Paltas (scalic melodic patterns) to
help improve a players technique, these are used
as the basis for tans (improvised breaks).
• Tihai is often used to punctuate or end sections
of improv ...
Improvisation: Performer as Co
... de art contrapuncti (published 1477). What was written down was called res facta and what counterpoint was
conceived aurally during the performance was called absolute counterpoint or singing super librum.1 Singers would
improvise lines to fit over the chant that the tenor part would sing. Tinctoris ...
Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.