» improvisation transfabric. Cartridge Music. Another Timbre TimHarrisonbre Cartridge Music was composed in 1960 and is one of Cage’s earliest attempts to produce live electronic music. Sounds are produced using cartridges from record players. Performers insert different objects into the opening of a cartridge, and manipulate them in a variety of ways (scraping, touching, striking etc) so that the sound of the object is picked up by the cartridge and then fed to an amplifier and speaker. The choice of objects and means of manipulation are left entirely to the musicians, the score providing only the means to determine a time structure for each performer. The score consists of a number of transparent sheets on which patterns are drawn.
The realisation on this CD was recorded at a live performance at the Audiograft Festival in Oxford in February 2012. Interview with Stephen Cornford Why were you interested in realising Cartridge Music? It's certainly a favourite piece of mine among Cage's compositions. At57 John Cage - Cartridge Music. Improv Theory (from tutors)
En42_pf_lewis. Improvising Tomorrow's Bodies: The Politics of Transduction The computer has become an indispensable part of the cultural and social histories of the arts, in which improvisation has long served as a site for interdisciplinary exploration, exchanges of personal and cultural narratives, and the blurring of boundaries between art forms. The ever-expanding roles played by interactive digital systems in globalized cultural, social, and economic environments are now being complemented by a similarly wide-ranging re-conceptualization of how improvisation produces knowledge and meaning. Because both improvisation and computing serve as important sites for interdisciplinary exploration in the arts, humanities, and sciences, a twinned theorizing of improvisation and interactivity will help to illuminate the inevitable differences that fragment and rupture even the most fluid and flexible notions of sociality, agency, history, and power.
COMMENTATOR: Right. Improvisation, Community and Social Practice. MTO 19.2: Sheehy and Steinbeck, Introduction: Theorizing Improvisation (Musically) [1] When talking about improvisation, as George E. Lewis wryly remarked at the AMS/SEM/SMT conference session at which versions of these papers were first presented, we ought not unreflectively conflate topic and process. Thinking about improvisation does not mean that we can just make things up as we go along. That being said, the papers we introduce here are, in a sense, the product of an improvised gesture—one meant to take advantage of the rare opportunity for musicologists, ethnomusicologists, and music theorists to come together and discuss a topic that cuts across disciplinary lines.
. [2] The last occasion for such a conversation would have been in 2000, when AMS, SEM, and SMT met jointly in Toronto, and thus before the recent groundswell of scholarship in improvisation studies. . [4] Somewhat surprising to us is the way certain thematic consistencies emerge from this heterogeneous set of papers. Aasheehy@uchicago.edu Works Cited. Contemporary Improvisors. Biography. Maja Solveig Kjelstrup Ratkje. Psychedelic Noise improv. Taj Mahal Travellers On Tour 1972. Fushitsusha | Biography. Improv Theory. How To Be A Better Improviser. By Dan Goldstein. First version 1996, last 2009. Try some of Dan's fun Psych experiments This document has been translated into German by Arne Poeck. A French translation was created by Hugo Labrande of ImproDisiaque. An older version of document has been translated into Slovene. These are some basic rules of thumb of improvisation. * = The key ideas.
When you get a piece of information from another actor, first, accept it as fact and second, add a little bit more information to it. The swiftest way to add reality and depth to a scene is to have the characters call up specifics from their common history. --“Are you trying to get us arrested?” --“Like the time we ran naked through the Yale-Princeton lacrosse game?”
Though just a few words, provides a great deal of information. Some improv teachers suggest staying in the present tense as often as possible. Often in improvisation, things deviate from the normal, the usual. Example: Suppose, a character picks up the phone and calls Maureen. An Interview with Fred Frith: The Teaching of Contemporary Improvisation | Chan | Critical Studies in Improvisation / Études critiques en improvisation. An Interview with Fred Frith: The Teaching of Contemporary Improvisation Charity Chan, Mills College Formed in the fall of 2004, the contemporary improvisation program at Mills College is one of the few graduate programs in the United States dedicated solely to the study of improvisation apart from any specific focus such as jazz. As the brainchild of guitarist/improviser/composer Fred Frith, the program grew exponentially in its first two years. With a long history of performing and teaching in the field of improvisation, Fred Frith is remarkably positioned not only to initiate such a program, but also to talk about pedagogies of improvisational music.
Based on a core curriculum of academic and performance courses, the program includes a number of annual workshops conducted by visiting composers, performers, and improvisers such as Maggie Nicols, Joëlle Léandre, Frank Gratkowski, Jean Derome, Pierre Tanguay, Janet Feder, Lê Quan Ninh, Frédéric Blondy, and Marque Gilmore. F.F.: Hmm. Improv:21 Derk Richardson interviews Composer-Improviser Fred Frith : ROVA:Arts : Free Streaming : Internet Archive. <div style="padding:5px; font-size:80%; width:300px; background-color:white; margin-left:auto; margin-right:auto; border:1px dashed gray;"> Internet Archive's<! --'--> in-browser video player requires JavaScript to be enabled. It appears your browser does not have it turned on. Please see your browser settings for this feature. </div> Larry Ochs of ROVA (Rova Saxophone Quartet) introduces an insightful interview of composer/improviser Fred Frith by Derk Richardson, conducted at the Dance Mission Theater in San Francisco on January 30, 2005.
Frith discusses the role of improvisation in his music and the recording techniques he has used in the music studio to capture and manipulate those improvisations. He also describes his use of graphic scores, his work improvising film soundtracks, and the various tricks he has developed to get more classically trained musicians learn how to more freely improvise. This movie is part of the collection: Other Minds Video Archive. Davidtoop | a sinister resonance. Hidden Music: David Toop interviews John Butcher. Improvisation | davidtoop. Improvisation: Its Nature and Practice in Music - Derek Bailey.
Derek Bailey - improvisation #1 (1/2) (1985/04/22) U B U W E B :: Cornelius Cardew - Towards an Ethic of Improvi... - Cardew-1971-Towards an Ethic of Improvisation.pdf. Jazzy Improv. John Zorn & Fred Frith - live at Lisbon. John Zorn - Cobra - On Improvisation (1992) JOHN BUTCHER - Home Page. EVAN PARKER - Homepage. EVAN PARKER MONASTERY SOLO - Live at Unlimited 26 - 2012 11 11 (FIFA) Evan Parker - improvisation #1 (excerpt) (1985/04/22) Evan Parker. Evan Shaw Parker (born 5 April 1944, Bristol, England) is a British free-improvising saxophone player from the European free jazz scene. Recording and performing prolifically with many collaborators, Parker was a pivotal figure in the development of European free jazz and free improvisation, and has pioneered or substantially expanded an array of extended techniques.
Critic Ron Wynn describes Parker as "[a]mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish. "[1] Early influences[edit] His original inspiration was Paul Desmond, and in recent years the influence of cool jazz saxophone players has again become apparent in his music — there are tributes to Warne Marsh and Lee Konitz on Time Will Tell (ECM, 1993) and Chicago Solo (Okkadisk, 1997). Later work[edit] Recordings[edit] Parker is one of the few saxophone players for whom unaccompanied solo performance is a major part of his work.[2] Pop music[edit] Evan Parker, 2005 Discography[edit] Peter Brötzmann. Paal Nilssen-Love. PAULINE OLIVEROS - Welcome. Sounding Out: Pauline Oliveros and Lesbian Musicality | McMullen | Critical Studies in Improvisation / Études critiques en improvisation. Book Review Sounding Out: Pauline Oliveros and Lesbian Musicality Martha Mockus New York: Routledge, 2007 208 pages Reviewed by Tracy McMullen An in-depth study of the life and work of composer/improviser Pauline Oliveros is long overdue, and Martha Mockus has made an important contribution to this end with her insightful, well-researched and highly readable book, Sounding Out: Pauline Oliveros and Lesbian Musicality.
In her introductory chapter, "Intonation," Mockus expresses her "commitment to place lesbianism—as sexuality, musicality, politics, history, worldview—at the center of [her] work on Oliveros" (3). Chapter Two, "Amplification," examines three of Oliveros's electronic works: Time Perspectives (1960), Bye Bye Butterfly (1965), and I of IV (1966). Chapter Three, "Meditation," investigates Oliveros's Sonic Meditations (1971), twenty-five guided improvisatory pieces that she created for the UCSD ♀'s Ensemble during her tenure there. Works Cited Browner, Tara. AMM. Photograph taken 26 June 1997; copyright Vas Vasovic. John Tilbury Eddie Prévost Keith Rowe. In addition some 1999 photographs of Eddie Prévost can be seen at: AMM was founded in London in 1965 by Gare, Prévost and Rowe.
In 1966 they were joined by Lawrence Sheaff and Cornelius Cardew. Since then Christopher Hobbs, Christian Wolff, Rohan de Saram and Ian Mitchell have also participated in making AMM music. AMM 1965/1994 - a brief and mostly chronological historical summary by Eddie Prévost. Prior to the formulation of the name AMM and the development of the particular features that subsequently marked out AMM's musical aesthetic, there were various ensembles in which the first stirrings towards AMMmusic could be discerned.
In 1965 tenor saxophonist Lou Gare and guitarist Keith Rowe were members of the Mike Westbrook Band. In 1968 American composer Christian Wolff joined the ensemble for the duration of his sabbatical year in Britain. Recordings. Lou Gare. Discography[edit] With AMM[edit] At the Roundhouse (Anomalous)AMM Group of London (Mainstream)To Hear And Back Again (Matchless)Cornelius Cardew Memorial Concert (Impetus)The Crypt - 12 June 1968 (Matchless)"The Aarhus Sequences", disc one of LAMINAL, a three CD retrospective AMM set (Matchless) Other than with AMM[edit] Saxophony HORN-BILL, reed solos compilation 2005 '(incl. John Butcher, Natahaniel Catchpole, Kai Fagasschinski, Evan Parker and Seymour Wright (Matchless)No Strings Attached solo saxophone 2005 (Matchless) References[edit] Jump up ^ Adams, Simon (2002).
Eddie Prévost. Eddie Prévost playing at Avanto Festival, Helsinki, 2007. Early years[edit] Of Huguenot heritage, Prévost's silk weaving ancestors moved to Spitalfields in the late 17th century. Brought up by single parent mother (Lilian Elizabeth) in war-damaged London Borough of Bermondsey. He won a state scholarship to Addey and Stanhope Grammar School, Deptford, London, where to-be drummers Trevor Tomkins and Jon Hiseman also studied. Music tuition, however, was limited to singing and general classical music appreciation. After leaving school at sixteen Prévost was employed in various clerical positions whilst continuing his musical interests. AMM[edit] AMM philosophy[edit] In contrast to many other improvising ensembles, the core aesthetic of the ensemble is one of enquiry. We are "searching" for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them.
History with AMM[edit] Percussion[edit] Drumming[edit] The London workshop[edit] Keith Rowe. Photograph copyright Gérard Rouy. Audio samples One mp3 Keith Rowe audio sample is available on this site. QuickTime video sample This clip of Keith Rowe is taken from a solo performance at Sound 323 in London on 29 October 2000. Other photographs Photographs of Keith's guitar, ancillaries and desktop, copyright David Reid (stills taken from the video mentioned earlier); click on a thumbnail below for a larger image: Biography Kenneth Ansell, in his notes to the 1980 Amalgam Wipe out box set, indicated that, although Keith Rowe's first major engagements were with the Mike Westbrook Orchestra in the early 1960s he was increasingly at odds with the surroundings in which he found himself.
AMM was established in 1965 by Rowe, percussionist Eddie Prévost and saxophonist Lou Gare, also a member of the Westbrook Orchesra at the same time. Keith Rowe has maintained his early interest in utilising painting as a stimulus, generation of ideas, and as score material for musical performance. Recordings. Power of Making: Keith Rowe and a Geography of Objects.