Pub Date : 2021-05-10DOI: 10.21083/CSIECI.V14I2.6407
L. Miller
Lisa Cay Miller is a pianist/composer/improviser and Artistic Director of the NOW Society. In this piece, she offers a poetic description of the technological challenges associated with a large-scale sequential improvisation project in which thirty-six musicians and two sound engineers collaborated with one another to produce a total of thirty-eight videos of improvised musical performances.
Lisa Cay Miller是一位钢琴家/作曲家/即兴演奏家，也是NOW协会的艺术总监。在这篇文章中，她诗意地描述了与大型连续即兴创作项目相关的技术挑战，在这个项目中，36名音乐家和2名音响工程师相互合作，制作了总共38个即兴音乐表演的视频。
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Pub Date : 2021-05-06DOI: 10.21083/CSIECI.V14I2.6306
Éléonore Pitre, Frannie Holder
Presented here in conversation, guitarists Frannie Holder (Dear Criminals, Random Recipe) and Éléonore Pitre (Rosier, Star Académie house band) discuss the pandemic as a moment to reflect on their lives as musicians and to focus more on the “why” of their work. Both musicians also describe the singular experience of performing in person during the pandemic..
吉他手Frannie Holder (Dear criminal, Random Recipe)和Éléonore Pitre (Rosier, Star acadacmie house乐队)在对话中讨论了这场大流行，以此来反思他们作为音乐家的生活，并更多地关注他们工作的“原因”。两位音乐家还描述了疫情期间亲自演出的独特经历。
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Pub Date : 2021-03-13DOI: 10.21083/CSIECI.V14I1.6303
Marianne Trudel
Marianne Trudel's contribution for the COVID-19 Special Issue. Contribution de Marianne Trudel pour le numéro spécial de COVID-19.
玛丽安·特鲁德尔对COVID-19特刊的贡献。玛丽安·特鲁德尔对COVID-19特刊的贡献。
{"title":"Cri du coeur","authors":"Marianne Trudel","doi":"10.21083/CSIECI.V14I1.6303","DOIUrl":"https://doi.org/10.21083/CSIECI.V14I1.6303","url":null,"abstract":"Marianne Trudel's contribution for the COVID-19 Special Issue. \u0000Contribution de Marianne Trudel pour le numéro spécial de COVID-19.","PeriodicalId":277401,"journal":{"name":"Critical Studies in Improvisation / Études critiques en improvisation","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126787944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-13DOI: 10.21083/CSIECI.V14I1.6332
A. Bajakian
Aram Bajakian's contribution to the COVID-19 Special Issue.
阿拉姆·巴贾吉安为《2019冠状病毒病》特刊所作贡献。
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Pub Date : 2020-06-30DOI: 10.21083/csieci.v13i1.5795
Max Suechting, Jonathan Leal
In this essay, we consider what musical improvisation can offer humanists interested in interdisciplinary cultural study. We begin by exploring our shared backgrounds as jazz-informed percussionists and our coincidental meeting in the same interdisciplinary graduate program. In the process, we identify key homologies between our musical and scholarly practices: namely, careful and constant practice; a deep commitment to listening; and an openness to conceptual translations across a variety of contexts. As we unpack these ideas, we draw on a wide range of artistic-theoretical texts, years of after-hours conversations, and occasional music collaboration; ultimately, we articulate, for each other and potential readers, that the dynamic, collaborative ethic required for successful improvisation nurtures scholarly interdisciplinary practice by valuing individual efforts as part of communal strivings.
{"title":"Jam Sessions","authors":"Max Suechting, Jonathan Leal","doi":"10.21083/csieci.v13i1.5795","DOIUrl":"https://doi.org/10.21083/csieci.v13i1.5795","url":null,"abstract":"In this essay, we consider what musical improvisation can offer humanists interested in interdisciplinary cultural study. We begin by exploring our shared backgrounds as jazz-informed percussionists and our coincidental meeting in the same interdisciplinary graduate program. In the process, we identify key homologies between our musical and scholarly practices: namely, careful and constant practice; a deep commitment to listening; and an openness to conceptual translations across a variety of contexts. As we unpack these ideas, we draw on a wide range of artistic-theoretical texts, years of after-hours conversations, and occasional music collaboration; ultimately, we articulate, for each other and potential readers, that the dynamic, collaborative ethic required for successful improvisation nurtures scholarly interdisciplinary practice by valuing individual efforts as part of communal strivings.","PeriodicalId":277401,"journal":{"name":"Critical Studies in Improvisation / Études critiques en improvisation","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128844517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-23DOI: 10.21083/CSIECI.V12I2.4227
Ryan Martin
This paper proposes the term generative improvisation to describe free improvisations that are constrained by a set of human-determined limits. The purpose of this term is to emphasize the way that rules limit performer choices and define the meanings of different musical gestures to generate specific kinds of performances. By examining Narrative Generator (for Living Machine), a rule-based improvisation for narrator, instruments, and electronics, I demonstrate that generative improvisation can be used to produce a performance of a coherent improvised narrative and soundtrack by basing the rules of the work on the theories and practices employed in film and video games. From there, the paper examines the relationships between different performers, the performers and the composer, and the composer, performer, and audience in the work, discussing the potential impacts of these relationships. Finally, I consider the role accessibility plays in spreading these potential impacts to a broader audience.
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Pub Date : 2018-12-20DOI: 10.21083/CSIECI.V12I2.5056
Kevin M. Mcneilly
To start to respond to this provocative question, I want to take Lorna Goodison at her word. In “Keith Jarrett—Rainmaker,” a meditative lyric from her 1984 collection I Am Becoming My Mother, the Jamaican-born poet situates herself in a conflicted moment of exhaustion, her desiccated spirit “seared” by the “vengeance” of the sun. She describes her own spare, thin lines in the poem as blurry, mixing severe want with a few vestiges of promise, traces of hope for remedy or even survival, recognizing how the sun’s warmth might revitalize even as it dries and evoking a Marley-like “song of redemption” that conjures “petals of resurrection / lilies.” But what’s really needed, she asserts, is rain: “So my prayers are usually / for rain.” The poem becomes a form of prayer not, in this instance, supplicant to a withdrawn or uncertain divinity, but instead as an evocation of openness to a particular impossibility, a coincidence of the extemporal and the a-temporal in a moment of close listening. Rain answers her prayer for vitality, but as an improvised coincidence—a brief shower—of musical, or at least aural, attentions.
为了回答这个挑衅性的问题，我想相信洛娜·古迪逊的话。在《基思·贾勒特-造雨者》(Keith Jarrett-Rainmaker)中，这位牙买加出生的诗人将自己置身于一个精疲力竭的矛盾时刻，她的干枯精神被太阳的“复仇”“烧焦”了。这是她1984年出版的诗集《我正在成为我的母亲》(I Am Becoming My Mother)中的一首沉思抒情诗。她在诗中描述了自己简洁、细细的线条，线条模糊，混杂着严重的匮乏和一些承诺的痕迹，对补救甚至生存的希望的痕迹，认识到太阳的温暖如何在干燥时重新焕发活力，唤起马利式的“救赎之歌”，召唤出“复活的花瓣/百合花”。但她断言，真正需要的是雨水:“所以我的祈祷通常是下雨。”这首诗变成了一种祈祷的形式，在这种情况下，不是祈求一个隐退或不确定的神，而是作为一种对特定的不可能的开放的召唤，在一个密切倾听的时刻，超时空和超时空的巧合。雨回应了她对活力的祈祷，但作为一个临时的巧合——一个短暂的阵雨——音乐，或者至少是听觉上的关注。
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Pub Date : 2018-12-20DOI: 10.21083/CSIECI.V12I2.4096
R. Elliott
There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations.
{"title":"Suspending the Habit Body through Immersive Resonance:Hesitation and Constitutive Duet in Jen Reimer and Max Stein’s Site-Specific Improvisation","authors":"R. Elliott","doi":"10.21083/CSIECI.V12I2.4096","DOIUrl":"https://doi.org/10.21083/CSIECI.V12I2.4096","url":null,"abstract":"There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations.","PeriodicalId":277401,"journal":{"name":"Critical Studies in Improvisation / Études critiques en improvisation","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124468085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.21083/CSIECI.V12I2.4605
Kwami Coleman
{"title":"Loft Jazz: Improvising New York in the 1970s, Michael Heller","authors":"Kwami Coleman","doi":"10.21083/CSIECI.V12I2.4605","DOIUrl":"https://doi.org/10.21083/CSIECI.V12I2.4605","url":null,"abstract":"","PeriodicalId":277401,"journal":{"name":"Critical Studies in Improvisation / Études critiques en improvisation","volume":"319 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115947626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.21083/CSIECI.V12I2.4385
Tomie Hahn
The short article recollects Pauline Oliveros's transmission of Deep Listening through everyday, direct, and playful means of improvisation.
这篇短文回顾了Pauline Oliveros通过日常，直接和有趣的即兴创作方式传播的深度聆听。
{"title":"Sputtering Rituals: Remembering Pauline Oliveros as Improvisation-in-Action","authors":"Tomie Hahn","doi":"10.21083/CSIECI.V12I2.4385","DOIUrl":"https://doi.org/10.21083/CSIECI.V12I2.4385","url":null,"abstract":"The short article recollects Pauline Oliveros's transmission of Deep Listening through everyday, direct, and playful means of improvisation.","PeriodicalId":277401,"journal":{"name":"Critical Studies in Improvisation / Études critiques en improvisation","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115438951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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