| Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration [With CD (Audio)] 2009 Edition Contributor(s): Mazzola, Guerino (Author), Rissi, Mathias (Other), Cherlin, Paul B. (Author) |
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ISBN: 354092194X ISBN-13: 9783540921943 Publisher: Springer OUR PRICE: $52.24 Product Type: Hardcover - Other Formats Published: January 2009 Annotation: The scientific approach of this book transcends the limits of art literature in that it also develops geometric theories of gestures and distributed identities, also known as swarm intelligence. We exemplify this approach in the framework of free jazz, which is a prototypical creative and collaborative art form. Leader artists such as John Coltrane, Pharoah Sanders, Cecil Taylor, Sun Ra, The Art Ensemble of Chicago, Albert Ayler, Don Cherry, and Archie Shepp are presented in their strongest works and theories. A CD with new recordings of the group Tetrade (Jeff Kaiser on trumpet, Guerino Mazzola on piano, Sirone on bass, Heinz Geisser on percussion) is included. The pillars of our theory of collaboration are built from psychologist Mihaly Csikszentmihalyia (TM)s flow, physicist Gilles ChA[teleta (TM)s gestures, and computer scientist Bill Wulf's collaboratories. |
| Additional Information |
| BISAC Categories: - Computers | Intelligence (ai) & Semantics - Computers | Computer Science - Computers | Interactive & Multimedia |
| Dewey: 004 |
| LCCN: 2008941078 |
| Series: Computational Music Science |
| Physical Information: 0.6" H x 6.4" W x 9.4" (0.92 lbs) 141 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: 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]. |