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Flow, Gesture, and Spaces in Free Jazz

Flow, Gesture, and Spaces in Free Jazz


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About the Book

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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Product Details
  • ISBN-13: 9783540921943
  • Publisher: Springer-Verlag Berlin and Heidelberg GmbH & Co. KG
  • Binding: Mixed media product
  • Edition: HAR/COM
  • Language: English
  • Returnable: Y
  • Spine Width: 15 mm
  • Weight: 449 gr
  • ISBN-10: 354092194X
  • Publisher Date: 12 Jan 2009
  • Depth: 19
  • Height: 239 mm
  • No of Pages: 141
  • Series Title: Computational Music Science
  • Sub Title: Towards a Theory of Collaboration
  • Width: 163 mm


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