Subject: Re: Aural Training in Electroacoustic Studies...
From: jacobus kamevaar (firstname.lastname@example.org)
Date: Sun Aug 21 2005 - 19:04:24 EDT
Lawrence: I played in a Toronto based improv collective - the CCMC- for
13 years. We all played conventional jazz instruments with the addition
of external sources of sound: synths, samplers, live media, tapes, toys,
Somewhere along the line I made a distinction between "extemporisation"
- a product of the virtuos, I mean virtuosity- the ego dominating,
o.k.... controlling the instrument -drawing from a memory bank of
gestures, collaging these in highly variegated juxtopositions, with one
of its purposes - developing a signifying reference to the individual -
the author's "sound"SELF EXPRESSION.... and (on the other hand, so to
speak) "improvisation",a non-teleological process (perhaps related to
the aleatoric, to some extent) where one is as limited by what one knows
as by what one doesn't know.
lawrence casserley wrote:
> On 20 Aug, 2005, at 20:17, Kevin Austin wrote:
>> Jazz Improv classes that I have observed are about the development of
>> skills that will later be employed. "Improvisation" is not a large
>> part of the early class work. Students require a solid technical
>> basis with their instruments so that they can develop the higher
>> level skills of real-time composition / variation / manipulation.
> One of the techniques I used to deal with this while teaching at the
> Royal College of Music, London, UK, was to take away the students'
> instruments, ask them to use voice and/or simple percussion
> instruments and objects, and combine this with simple elctroacoustic
> processing. This removed the frequently inhibiting factor of what they
> knew how to play on their instruments, introduced them to an
> exploratory situation and pushed them to develop different listening
> skills. Frequently I found students were embarassed and awkward when
> trying to improvise with their familiar instruments, but opened up and
> developed new ways of listening when confronted with these new tools.
> Much quicker progress was made, and when later they returned to their
> own instruments they could bring this experience into play.
> Lawrence Casserley - email@example.com
> Lawrence Electronic Operations - www.lcasserley.co.uk
> Colourscape Music Festivals - www.colourscape.org.uk
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