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Flow, Gesture, and Spaces in Free Jazz - Towards a Theory of Collaboration (Hardcover, 2009 ed.)
Loot Price: R1,469
Discovery Miles 14 690
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Flow, Gesture, and Spaces in Free Jazz - Towards a Theory of Collaboration (Hardcover, 2009 ed.)
Series: Computational Music Science
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Let's try to play the music and not the background. Ornette
Coleman, liner notes of the LP "Free Jazz" 20]
WhenIbegantocreateacourseonfreejazz, theriskofsuchanenterprise was
immediately apparent: I knew that Cecil Taylor had failed to teach
such a matter, and that for other, more academic instructors, the
topic was still a sort of outlandish adventure. To be clear, we are
not talking about tea- ing improvisation here-a di?erent, and also
problematic, matter-rather, we wish to create a scholarly discourse
about free jazz as a cultural achievement, and follow its genealogy
from the American jazz tradition through its various outbranchings,
suchastheEuropeanandJapanesejazzconceptionsandint- pretations. We
also wish to discuss some of the underlying mechanisms that are
extant in free improvisation, things that could be called technical
aspects. Such a discourse bears the ?avor of a contradicto in
adjecto: Teachingthe unteachable, the very negation of rules, above
all those posited by white jazz theorists, and talking about the
making of sounds without aiming at so-called factual results and
all those intellectual sedimentations: is this not a suicidal
topic? My own endeavors as a free jazz pianist have informed and
advanced my conviction that this art has never been theorized in a
satisfactory way, not even by Ekkehard Jost in his unequaled,
phenomenologically precise p- neering book "Free Jazz" 57].
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