Free ensemble improvisation:
The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play. The background...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Göteborg
Faculty of Fine, Applied and Performing Arts, Academy of Music and Drama, University of Gothenburg
c 2009
|
| Schriftenreihe: | Art monitor
13 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play. The background to this thesis has been the author's own free improvising, which he has pursued since 1974, and the questions that have arisen whilst music-making. The thesis takes three of these questions as its point of departure: - what is free ensemble improvisation, what characterizes free ensemble improvisation and how can it be defined - how does free ensemble improvisation relate to: - - instrumental technique - - idiomatic improvisation and stylistic influences - - composition - -interpretation - - aleatorics and indeterminacy - - different types of sytems (e.g. biological, social, dynamic/chaotic systems) - what might a conceptual model as a theoretical base for free ensemble improvisation look like? The artistic/performative part of this research project has primarily consisted of public concerts, as a result of longer/shorter periods of cooperation with four permanent and a number of temporary (ad hoc) ensembles. The results provide a better understanding of what free ensemble improvisation is, in what respects it differs from other forms of music-making and how it can be defined. Free ensemble improvisation's relations to the points mentioned above were found to be more multifaceted than expected. However, it was possible to attain a basic twolayered conceptual model as a theoretical base for free ensemble improvisation and, in its extension, as a basis for the analysis of free ensemble improvisation. The study includes numerous concert projects, of which several are recorded and included in this book on two CDs with MP3 files. |
| Beschreibung: | IX, 370 S. graph. Darst. 30 cm 2 CDs (12 cm) |
| ISBN: | 9789197775786 |
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| 520 | 3 | |a The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play. The background to this thesis has been the author's own free improvising, which he has pursued since 1974, and the questions that have arisen whilst music-making. The thesis takes three of these questions as its point of departure: - what is free ensemble improvisation, what characterizes free ensemble improvisation and how can it be defined - how does free ensemble improvisation relate to: - - instrumental technique - - idiomatic improvisation and stylistic influences - - composition - -interpretation - - aleatorics and indeterminacy - - different types of sytems (e.g. biological, social, dynamic/chaotic systems) - what might a conceptual model as a theoretical base for free ensemble improvisation look like? The artistic/performative part of this research project has primarily consisted of public concerts, as a result of longer/shorter periods of cooperation with four permanent and a number of temporary (ad hoc) ensembles. The results provide a better understanding of what free ensemble improvisation is, in what respects it differs from other forms of music-making and how it can be defined. Free ensemble improvisation's relations to the points mentioned above were found to be more multifaceted than expected. However, it was possible to attain a basic twolayered conceptual model as a theoretical base for free ensemble improvisation and, in its extension, as a basis for the analysis of free ensemble improvisation. The study includes numerous concert projects, of which several are recorded and included in this book on two CDs with MP3 files. | |
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Datensatz im Suchindex
| _version_ | 1804140940560957440 |
|---|---|
| adam_text | Contents
Foreword
...................................................................................................................................
IX
Intro
................................................................................................................................................
ι
1
The path
.......................................................................................................................................1
2
Questions, method and disposition
........................................................................................4
I Free improvisation
......................................................................................................11
3
Reasons for improvising freely
.........................................................................................11
4
Personal prerequisites
..........................................................................................................19
5
Background of free improvisation
..................................................................................21
6
Free improvisation
..............................................................................................................27
6.1
General
.............................................................................................................................27
6.1.1
Solo
-
ensemble
..........................................................................................................27
6.1.2
Ensemble
......................................................................................................................30
6.1.3
Short-term
-
long-term collaboration
....................................................................37
6.1.4
Ensemble size
-
large ensembles
-
directing
.........................................................41
6.2
How free improvisation comes about
........................................................................55
6.2.1
Listening
......................................................................................................................55
6.2.2
Process
..........................................................................................................................60
6.2.3
Interaction
-
communication
-
conversation
.....................................................80
6.2.4
Ways of interaction
-
relations
-
complexity
......................................................89
6.3
Definitions
....................................................................................................................105
7
Intuitive music
..................................................................................................................109
8
A word about freedom
.....................................................................................................114
9
Evaluation
..........................................................................................................................118
10
Spiritual aspects of free improvisation
.........................................................................123
11
Three poems on improvisation
......................................................................................133
II Free improvisation in relation to
................................................................135
12
Free improvisation
-
instrument, technique and virtuosity
....................................135
13
Free improvisation
-
idiomatic improvisation
-
stylistic influences
.......................146
13.1
Free improvisation
-
idiomatic improvisation
.......................................................146
13.2
Free improvisation
-
stylistic influences
.................................................................159
14
Free improvisation
-
composition
................................................................................165
14.1
Differences
....................................................................................................................165
14.2
Similarities
.....................................................................................................................182
14.3
Mixed forms
..................................................................................................................186
15
Free improvisation
-
interpretation
.............................................................................190
16
Free improvisation
-
aleatorics
-
indeterminacy
.......................................................199
17
Free improvisation
-
system analogies
........................................................................212
VII
Ill
Concept
model
............................................................................................................231
18
Concept
model
based on preceding sections
..............................................................231
19
Complementary material to the concept model
........................................................238
19.1
Objects
............................................................................................................................238
19.1.1
Complementary material under the term heading: Objects
............................238
19.1.2
More about objects
...................................................................................................241
19.2
Properties
........................................................................................................................255
19.2.1
Complementary material under the term heading: Properties
........................255
19.2.2
More about properties
..............................................................................................272
19.3
Relations
.........................................................................................................................273
19.3.1
Complementary material under the term heading: Relations
.........................273
19.3.2
More about relations
................................................................................................276
19.4
Rhythm, and the complemented concept model
...................................................281
Outro
........................................................................................................................................291
Afterword
...............................................................................................................................344
Appendices
............................................................................................................................347
Al
Overview of concerts, recordings and presentations
.................................................347
A2 Gesture processing alternatives
......................................................................................352
A3
Number of cases of overlapping for ranges
..................................................................356
A4
A free improviser s view of the symphony orchestra and chamber ensemble
.......356
A5 Curvature types
..................................................................................................................358
Literature
...............................................................................................................................359
VIII
|
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| indexdate | 2024-07-09T22:07:58Z |
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| spelling | Stenström, Harald 1943- Verfasser (DE-588)140211764 aut Free ensemble improvisation Harald Stenström Göteborg Faculty of Fine, Applied and Performing Arts, Academy of Music and Drama, University of Gothenburg c 2009 IX, 370 S. graph. Darst. 30 cm 2 CDs (12 cm) txt rdacontent n rdamedia nc rdacarrier Art monitor 13 Zugl.: Göteborg, Univ., Diss., 2009 The aim of this doctoral project has been to study so-called non-idiomatic improvisation in ensembles consisting of two or three musicians who play together without any restrictions regarding style or genre and without having predetermined what is to be played or how they should play. The background to this thesis has been the author's own free improvising, which he has pursued since 1974, and the questions that have arisen whilst music-making. The thesis takes three of these questions as its point of departure: - what is free ensemble improvisation, what characterizes free ensemble improvisation and how can it be defined - how does free ensemble improvisation relate to: - - instrumental technique - - idiomatic improvisation and stylistic influences - - composition - -interpretation - - aleatorics and indeterminacy - - different types of sytems (e.g. biological, social, dynamic/chaotic systems) - what might a conceptual model as a theoretical base for free ensemble improvisation look like? The artistic/performative part of this research project has primarily consisted of public concerts, as a result of longer/shorter periods of cooperation with four permanent and a number of temporary (ad hoc) ensembles. The results provide a better understanding of what free ensemble improvisation is, in what respects it differs from other forms of music-making and how it can be defined. Free ensemble improvisation's relations to the points mentioned above were found to be more multifaceted than expected. However, it was possible to attain a basic twolayered conceptual model as a theoretical base for free ensemble improvisation and, in its extension, as a basis for the analysis of free ensemble improvisation. The study includes numerous concert projects, of which several are recorded and included in this book on two CDs with MP3 files. Improvisation (musik) sao Ensemble (DE-588)4212188-7 gnd rswk-swf Orchester (DE-588)4172708-3 gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Orchester (DE-588)4172708-3 s Improvisation (DE-588)4127993-1 s DE-604 Ensemble (DE-588)4212188-7 s Art monitor 13 (DE-604)BV021781094 13 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018805904&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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