MUS434-571.3 Music of the Modern Era - Kirsten · PDF fileMusic of the Modern Era ... •...
Transcript of MUS434-571.3 Music of the Modern Era - Kirsten · PDF fileMusic of the Modern Era ... •...
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MUS434-571.3 Music of the Modern Era
Free Jazz / Experimental Music – Apr. 11, 2013
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Free Jazz
• Also “new wave” jazz or the “new thing” • 1960’s avant-garde
– Absence of steady pulse or meter – Absence of a predetermined harmonic structure – Altered role for rhythm-section instruments – Freer formal structures – Use of extended techniques / unusual instrumental sounds
• John Coltrane, Eric Dolphy, Cecil Taylor, etc.
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Ornette Coleman • Saxophonist • Best known for work with his quartet
– Don Cherry, trumpet – Charlie Haden, bass – Billy Higgins, drums
• 1958 Something Else!!!! The Music of Ornette Coleman + Tomorrow is the Question
• 1959 The Shape of Jazz to Come + Change of the Century • 1960 Free Jazz (Atlantic Records)
– One quartet for each stereo channel • Ornette Coleman, trumpeter Don Cherry, bassist Scott LaFaro, and drummer
Billy Higgins on the left. • Trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie
Haden, and drummer Ed Blackwell on the right.
• No piano or other harmonic instruments!
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Ornette Coleman – Free Jazz (1960)
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Ornette Coleman – Song X (1985)
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Ornette Coleman – Song X (1985) • Performers
– Ornette Coleman – Alto Saxophone, Violin – Pat Metheny – Guitar, Roland Guitar Synthesizer, Synclavier Guitar – Charlie Haden – Bass – Jack DeJohnette – Drums – Denardo Coleman – Electronic Drums, Percussion
• Frenetic energy! – Textural composition, interaction between layers, communication between
players • “Vocal” saxophone sound
– bent pitches, intonation, growls, multiphonics • Extended sound palette with state-of-the-art synthesizer
technology (Metheny) • Form still includes a “head” and “solo” sections • Extension of Charlie Parker’s work • Harmolodic theory – melody, harmony, and rhythm all equal
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Anthony Braxton • Saxophonist • Member of the Association for the Advancement of
Creative Musicians • Studied with Coleman and Coltrane • 1967 Creative Construction Company with Leroy Jenkins
(violin/viola) and Leo Smith (trumpet) • 1971 Circle with Chick Corea (piano), Dave Holland
(bass), and Barry Altschul (drums) • Also writes for band, large orchestra; uses theatrical
elements • Faculty at Wesleyan University
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Anthony Braxton – Five Pieces (1975)
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Anthony Braxton – Five Pieces (1975)
• Performers – Anthony Braxton, saxophone, flute, clarinet – Kenny Wheeler, trumpet – Dave Holland, bass – Barry Altschul, drums
• “echoes of bebop, combined notated and improvised music, and brought together free collective improvisation, individual solos, and written ensemble passages”
• Titles as geometric designs, arrangements of numbers and letters, and human and animal figures
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Anthony Braxton – Five Pieces (1975)
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Third Stream • Term coined by Gunther Schuller in 1957 • Synthesis of classical music and jazz
– Improvisation is key • Schuller’s 1981 list of "What Third Stream is not":
– It is not jazz with strings. – It is not jazz played on 'classical' instruments. – It is not classical music played by jazz players. – It is not inserting a bit of Ravel or Schoenberg between be-bop changes—nor
the reverse. – It is not jazz in fugal form. – It is not a fugue played by jazz players. – It is not designed to do away with jazz or classical music; it is just another
option amongst many for today’s creative musicians • Duke Ellington, Billy Strayhorn, Artie Shaw, Charles Mingus – from New Grove: J.J. Johnson,
André Hodeir, Milton Babbitt, Bill Russo, Gunther Schuller, Don Ellis, Bill Smith, Jimmy Giuffre, Larry Austin, Mike Mantler, Ran Blake, Anthony Braxton, Leo Smith, Steve Lacy and Dave Douglas
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John Zorn
• Classically trained saxophonist / composer • Film scores, cartoon music, electronic music
(recording studio as a compositional tool), game pieces, VARIETY!
• File card composition process • Saxophone ensemble Naked City • Downtown avant-garde jazz since 1974 • The Stone (Ave C and 2nd, NYC)
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John Zorn – Cobra (1984)
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John Zorn – Cobra (1984)
• It’s a game! (that’s also a piece) – Collective improvisation – Prompter holds cards to signal performers’ actions – Performers ask to be called upon to determine the next
event by holding up a certain number of fingers and pointing at a body part
– When the “play” is determined, the prompter cues a downbeat with the card and that episode of improvisation happens
– Guerilla Systems – Players go rogue and enlist others in their subversive cause
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Sun Ra
• Born Herman Blount, later Le Sony’r Ra • Pianist and arranger for Fletcher Henderson • (The Intergalactic Myth-Science Solar) Arkestra • One of first jazz pianists to use synthesizers and
electric keyboards • Interest in “color” of sound – lots of percussion, non-
traditional jazz instruments • Collective improvisation • Microtonality, electronics, costumes, “happenings,”
psychedelics
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Sun Ra – Space is the Place (1972-74)
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Sun Ra – Space is the Place (1972-74)
• Track 1 from 1973 album of same name • John Coney film and soundtrack with same name • Performers
– Sun Ra – Piano, Farfisa Professional = space organ – Akh Tal Ebah – trumpet, flugelhorn, vocals – Kwame Hadi (Lamont McClamb – trumpet) – Marshall Allen - alto saxophone, flute – Danny Davis - alto saxophone, flute – John Gilmore - tenor saxophone, vocals – Danny Thompson - baritone saxophone, flute, vocal – Eloe Omoe - bass clarinet, flute – Pat Patrick - electric bass, baritone saxophone, vocal – Lex Humphries – drums – Atakatun (Stanley Morgan) and Odun (Russel Branch) – percussion
• Everyone plays percussion! • Afrofuturism
– combines elements of science fiction, historical fiction, fantasy, Afrocentricity, and magic realism with non-Western cosmologies in order to critique not only the present-day dilemmas of people of color, but also to revise, interrogate, and re-examine the historical events of the past.
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Summary • New approach to jazz emphasizing
– collective improvisation – shifting tonal centers – interaction between players within a more gestural and textural
framework – rhythmic and timbral freedom
• Retains use of head and solo structure; riffs; some works rooted in the blues; interpretations of other songs
• Experimental music reaches beyond genre boundaries – Third Stream – Popular music / 60s subculture – Serious composition, political undertones as African-Americans
continue to strive for equal recognition / validation and bring attention to the historical plight of a people