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The Hopkinson Journal for the Arts
Platonic Forms & Music: “Miñiques” as a Case Study in Composition2022 •
International Journal of Music Education
Improvisation and Jazz: Implications for International Practice1995 •
This article deals with jazz improvisation, attempting to finding a way to define a model through which it could be conceived, developed and practiced. To begin with, we will investigate the traditional schema through which musical ontology has always considered musical entities, i.e. a prescriptive one. Later on, we will focus on a dynamic conception of formula – i.e., patterns that are able to express the musician’s individuality in a given performative context – and sketch the difference between figural and generative models. Particular emphasis will be given to the distinction between formula and mere licks, that can be defined as conventional, fixed and ossified formulas. In conclusion, we will see how jazz music can be based on a different, not pre-determined kind of structure, which we may call informative model. This allows us to abandon an inveterate prejudice, i.e. that jazz is an anarchic music, and, in addition, to better understand what criteria should we refer to in evaluating the creativity which is at stake into a jazz performance. I do not want to establish a qualitative hierarchy between the prescriptive and the informative model, but I would only like to highlight the fact that they give rise to different productive paths in making music.
Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” (creative) or “reproductive” (mnestic) tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between consciousness and the unconscious. The performing urgency of gestures, voices, and sounds, although arranged in the same scene, highlights the difference in individual time. In this intense activity of opposition and resolution the experience becomes an unstable territory that rests on the capacity of the body to remember, decide, anticipate, and invent. The ego reveals itself to be an emerging representation of our nerve structures and, even if conscious organization continues to be attributed to it, its role is not at all crucial. Unity, if anything, means coordination. The conscious ego is the
2016 •
Tidskrift för kulturstudier / Journal of Cultural Studies (Uppsala) 5 (2002): 80-94
Jazz Improvisation, the Body, and the OrdinaryWhat is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions.
Beugense Peel, Tovense Beek, Visdel deel 1 - 13
Beugense Peel, Tovense beek, Visdel deel 1 - 132024 •
2024 •
2013 •
Editora Blucher eBooks
Processo Metodológico para Propor Módulo Cinético e Bioinspirado para Fachada: Um Estudo em Biomimética com Sessão de Cocriação2022 •
2013 •
Experimental and Therapeutic Medicine
Effect of γ-tocotrienol in counteracting oxidative stress and joint damage in collagen-induced arthritis in rats2014 •