Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration

di Guerino Mazzola (Autore)

Paul B. Cherlin (Autore)

Springer-Verlag Berlin and Heidelberg GmbH & Co. KG, 2009

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].

• Autore: Guerino Mazzola, Paul B. Cherlin
• Editore: Springer-Verlag Berlin and Heidelberg GmbH & Co. KG
• Collana: Computational Music Science
• Anno: 2009
• Rilegatura: Hardback
• Pagine: 141 p.
• Dimensioni: 235 x 155 mm
• EAN: 9783540921943

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