Flow, Gesture, and Spaces in Free Jazz.. Towards a Theory of by Guerino B. Mazzola, Paul B. Cherlin, Mathias Rissi, Nathan

By Guerino B. Mazzola, Paul B. Cherlin, Mathias Rissi, Nathan Kennedy

Mazzola G.B., Cherlin P.B., Rissi M., Kennedy N. (eds.) circulation, Gesture, and areas in unfastened Jazz.. in the direction of a conception of Collaboration (Springer, 2009)(ISBN 354092194X)(O)(140s)

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Extra info for Flow, Gesture, and Spaces in Free Jazz.. Towards a Theory of Collaboration (Springer, 2009)(ISBN 354092194X)(O)(140s)

Sample text

This means that homophony is given up in favor of a motivic syntax, which may or may not be enriched by harmonic perspectives, but these are by no means mandatory for the understanding of the music. The are now the old background that is no longer in service, when stepping out of those smoky bars. This could be one possible understanding of Coleman’s arcane harmelodic concept. 2 John Coltrane’s Harmonic Spaces in Ascension John Coltrane’s Ascension, recorded on June 28 1965 [22], has often been compared with Ornette Coleman’s Free Jazz.

We come back to this subject in a moment. Relating to the shared space of such playing “the music”, Coleman continues: “The most important thing was for us to play together, all at the same time, without getting in each other’s way, and also to have enough room for each player to ad lib alone—and to follow this idea for the duration of the album. When the soloist played something that suggested a musical idea and direction to me, I played that behind him in my style. ” This nicely confirms our principles of collaborative space strategies set forth above.

Realities: This dimension describes the three fundamental values of reality involved in music: Physical reality, psychological reality, and mental reality. g. mathematical descriptions in music theory) to the mental reality. Observe that the mental reality is not conceived as being a part of the psychological one. 2. Communication: Following the famous scheme of Jean Molino and Paul Val´ery [67], music deals with communication from the first value, the poietical position of the composer, or creator, to the creator’s work, which is the material essence and output of the second value, called neutral level by Molino.

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