Since their emergence from the Association for the Advancement of Creative Musicians (AACM) in the 1960s, the members of the Art Ensemble of Chicago have created a distinctive multidisciplinary performance practice centered on collective improvisation. In this article, Steinbeck conceptualizes Art Ensemble improvisations as networks of group interactions, and he analyzes an excerpt from a 1972 Art Ensemble concert recording using a phenomenological perspective informed by his conversations with the group about the performance and by my own experience as an improvised-music practitioner.
Miya Masaoka is a third generation Japanese American artist classically trained as a musician and composer. In her compositions and installations, she involves improvisation, interaction, spatialization, sensors, computers, and various media including video and film.
In this interview with fellow Japanese/American sound artist Keiko Uenishi I work outwards from the personal to consider the radical potential of internet-based sound and video improvisation to build community across ethnic and gender lines.
In this article, composer and educator Mike Heffley analyzes the libretto and score of a Braxton's magnum opus, the opera Trillium R (Shala Fears for the Poor) of 1991. With the term "speculative music," Heffley designates music as a "speculum," or a mirror of the natural world or cosmic order. Heffley considers the opera's libretto in the context of the entire corpus of Braxton's writings, particularly his Tri-Axium Writings of 1985. Heffley argues that Braxton's use of language is "a driving force behind, first, his music, and, further, his body of work as a whole . . ."
Despite the favorable environment for jazz in France, African-American musicians’ turn toward using intellectual and formal techniques of European art music during the 1970s met with a cool reception in the French jazz press. Lehman suggests that a genuine fascination with this new music was tempered by received notions about race and musical idiom, which viewed through-notated forms and intellectualism as uniquely French or European.
This dissertation examines how creative women improvisers are subject to gendered representations and receptions by the media, festival, and record producers. Current dispositions towards women, whether deliberate or unintentional, influence future engagements for women improvisers. In addition, the relative exclusion of feature articles on women improvisers or as leaders at festivals leads to what I call the myth of absence - the assumption that women are not interested in participating in the exploration and development of experimental creative improvised music.
In Playing Ad Lib, musicologist John Whiteoak explores improvisation in music that was never recorded. His evidence consists of print sources and anecdotes from throughout Australia. These include incomplete scores, published execution "methods" (e.g., for playing ragtime), snippets of advertisements, and published stories.
This essay documents the absorption of jazz by the European artistic vanguard between 1910 and 1930. Because of jazz' perceived spontaneous and libidinous qualities, avant-garde artists exploited it as a symbol of modernism "like a decal on a traveler's bag," in turn preparing jazz' appropriation by the world of fashion of that time.
Author Graham Lock accompanied Anthony Braxton's classic quartet on a 1985 tour of England, and this book is the result. It includes interviews Lock did with Braxton and other members of his group. These are connected with concert reviews, stories of the tour, and essays on Braxton's ideas on musical languages and notation systems. Braxton candidly discusses his own startlingly innovative work as well his ethical, political, and spiritual beliefs.