Beyond Borders. Broadening the Artistic Palette of (Composing) Improvisers in Jazz.
(2017)
author(s): Dick de Graaf
published in: Academy of Creative and Performing Arts
In this on-line dissertation, jazz saxophonist Dick de Graaf investigates a variety of compositional and improvisational models and techniques in contemporary jazz and Western art music, and discusses possible applications of these materials in current jazz practices. The study includes examinations of educational publications by five selected jazz artists (Dave Liebman, Jerry Bergonzi, George Garzone, Walt Weiskopf, and John O’Gallagher), and the analysis of compositional techniques by two composers of the 20th century: Peter Schat's Tone Clock and Olivier Messiaen's modes of limited transposition. In addition, these theories and techniques are illustrated by selected examples (transcriptions and audio excerpts) and by examples of applications by various musicians, including the author. All examples are thoroughly analyzed and evaluated in order to determine their potential use in contemporary jazz practices.
The research results provide comprehensive insights into compositional and improvisational processes in jazz, and offer materials that can be useful for the personal artistic development of jazz practitioners, including musicians, composers, and educators.
An Erotics of Art: A Specific Attempt at Failure
(last edited: 2018)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
Is it possible to conceive of a form of musical criticism that reflects the very subject(s) it attempts to mobilise? To embrace the fluid ontologies of music while limiting the ossifying nature of linguistic criticism?
An Erotics of Art was a project I ran in 2016 to try and create such an art form. Myself and a select few artists, writers and musicians were asked to create "responses" to musical works of their choice. These responses had to be created in real-time, as they listened. These are my submissions.
Because of my grounding, the majority of each response is text based (I am loathe to say linguistic...) but occasionally text fails me. I stretch it to what I saw as its intelligible limit at the time, and used images and free-drawing.
The resulting pieces are a searing autoethnographic matrix of my situation at the time, as provoked by these musics. The inspiration came from both Susan Sontag, from whom I clearly ape the name of the series, and an old Downbeat Magazine section called "Blindfold Test". Examples are easily found. They may seem discursive but rest assured: I am talking about the music itself and nothing else.