Jazz piano

Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance.

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

This short work will look at some possibilities for using Arnold Schoenberg’s symmetrical set from his Serenade Op. 24 Mvmt. 5 as pitch material in Jazz/Fusion improvisation.

I will examine some harmonic and melodic uses of the set’s two hexachords using an accepted Jazz Chord/Scale Relationship pedagogical methodology. My approach will look at these pitch groups as unordered sets or collections only, although their use as ordered sets is of course certainly possible. As many Jazz and Fusion Improvisers are familiar with Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns , I will reference this text in relation to the sets and subsets present in this survey for ease in cross referencing.

One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity— the historical authenticity of this African American folk music. The idea for this study originated from my observation of a lack of “African American-ness”—African American narratives not being used as a pedagogical tool in post-secondary jazz curricula across the GTA. Therefore, this multi-case study will lead to the creation of an alternative curriculum that incorporates new teaching methods based on African American narratives. Dr. Barry Harris is one such educator who incorporates new teaching methods based on African American narratives. Therefore, I seek to unpack and analyze the musical and social upbringing that contributed to African American jazz pianist and educator Dr. Barry Harris’  primary contribution to jazz education, which is his concept of movement, while also expanding upon it.  When these antecedents of Harris’  concept of movement have been analyzed, they will use them as a compliance for the cultivation and filling in of gaps in post-secondary jazz curricula across the GTA.

Musical improvisation is the expressive capacity of a performer fostered by
access to their own “productive” (creative) or “reproductive” (mnestic) tonal
imagery: a field of consciousness that includes experiences, images that are internal,
combined, distorted, associated, or in competition between themselves. In
the highly original form of life that is jazz, narrating means directing time: a
time of epiphanies and introversions, of intuitions and revelations, of syncopated
rhythms and aesthetic insights, which appear and disappear on the edges of interference
between consciousness and the unconscious. The performing urgency of
gestures, voices, and sounds, although arranged in the same scene, highlights the
difference in individual time. In this intense activity of opposition and resolution
the experience becomes an unstable territory that rests on the capacity of the
body to remember, decide, anticipate, and invent. The ego reveals itself to be an
emerging representation of our nerve structures and, even if conscious organization
continues to be attributed to it, its role is not at all crucial. Unity, if anything,
means coordination. The conscious ego is the

Thelonious Sphere Monk, III (T.S. Monk) is an internationally acclaimed jazz drummer, composer, bandleader, vocalist, and arts educator. The son and musical heir to his father, the legendary jazz composer, and pianist Thelonious Monk, he is the co-founder and the Chairman of the Board of Trustees of the Thelonious Monk Institute of Jazz.

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Riconoscimento del jazz come identità della cultura americana negli " Anni Ruggenti " attraverso " Rapsodia in blue " di George Gershwin. Lo scopo di questo lavoro è proporre una lettura e un punto di vista personale, e più in generale, una ricostruzione storica dell'humus culturale in cui si trovavano gli Stati Uniti d'America all'inizio degli anni '20 del Novecento. Consapevoli che, proporre una storia esaustiva su questo argomento sia del tutto irrealizzabile e, seguendo un tracciato già percorso in passato da filosofi e studiosi (Ariès, Duby, Koselleck, Burke ecc..,), si cercherà di far emergere, attraverso l'uso di documenti (opere d'arte, fonti storiche) quali siano stati i moventi psichici, consci e inconsci, che hanno portato a forgiare la " mentalità " dell'epoca. Una ricostruzione che non può far a meno di considerare anche una storia della ricezione che l'opera d'arte, (intesa come opera tout court) ebbe in questo periodo storico conosciuto come " Anni Ruggenti ". Occuparsi di una storia delle mentalità significa ricercare un sentiero, una sorta di filo conduttore che accomuni il non cosciente collettivo nella storia, indipendentemente dalla cultura e dalla corrente egemonica di un dato periodo, alla ricerca di linee generali che possano dare una visione più completa e generalizzante attraverso una particolare manifestazione artistica del periodo, e quindi dal particolare al generale e viceversa. In questa ricerca c'è bisogno di cercare un " Orientamento ideologico che produce documenti storici di un certo tipo di mentalità. L'emotività che spinge l'uomo alle azioni fa parte del non cosciente collettivo. Storia fatta dalla umoralità, testimonianze che portano l'emotività. Per studiare le emozioni abbiamo le opere d'arte, la narrativa, la musica e la pittura ". (Ariès, Duby) L'opera d'arte in se quindi va considerata in una duplice veste: come opera del suo tempo, affioramento di un episteme; e come oggetto e documento universale in eterno presente, soggetto alla libera interpretazione soggettiva, così come accade per le scienze storiografiche. (Foucault) Agli inizi degli anni '20 New York era un ribollire di idee e cultura. La città era protesa in avanti, desiderosa di conoscenza verso le nuove e più aggiornate tendenze culturali. Le correnti moderniste si formarono proprio in questo periodo sulle pagine di numerose riviste che stavano nascendo, a partire dal lavoro dei filosofi pragmatisti americani come William James e John Dewey che proponevano, se pur non in maniera del tutto unitaria, le loro nuove teorie pronte a contrapporsi allo spirito degli ideali vittoriani. In particolare la critica di Dewey era mossa verso le vecchie teorie filosofiche che nella relazione tra conoscenza e azione proponevano uno sbilanciamento a favore della conoscenza; per questo movimento filosofico l'ideale della vita " teoretica " dedita alla meditazione e alla ricerca di una verità a-storica, contrapponeva l'ideale della verità come farsi, come azione, come attività. Su questa strada quindi i pragmatisti proponevano una rivalutazione dell'azione, rifiutando la tradizionale concezione della verità intesa come conformità tra cosa e idea, come adeguamento tra essere e pensiero; la verità si trasforma da stato mentale ad attività, farsi conoscitivo, intesa come risultante delle attività necessarie alla verificazione. Risulta di particolare importanza il pensiero di Dewey che contesta la nozione classica dell'esperienza: " Noi cominciamo appena ora a intendere che è completamente annullata la psicologia che dominava la speculazione filosofica dei secoli XVIII e XIX. Essa affermava che la vita mentale ha origine nelle sensazioni che sono ricevute separatamente e passivamente e si riuniscono, per mezzo delle leggi della memoria e dell'associazione, in un mosaico di immagini, di percezioni e di concezioni. I sensi erano considerati come ingressi o vie della conoscenza. Salvo che nel combinare le atomistiche sensazioni, la mente era del tutto passiva e quiescente nel conoscere. Volizione, azione, emozione, desiderio, sono conseguenze delle sensazioni e delle immagini. Il fattore intellettuale o conoscitivo viene per primo e la vita emotiva e volitiva è solo una conseguente congiunzione di idee con sensazioni di piacere e di dolore. " (La ricostruzione filosofica) La vecchia concezione risulta ormai da contestare in base ai risultati della moderna scienza e soprattutto della biologia: " Lo sviluppo della biologia ha avuto per effetto di capovolgere questo quadro. Dovunque c'è vita,

Chapter Eight, comparatively-contrastively, the two very different figures of (Wessi) Alexander von Schlippenbach and (Ossi) Ulrich Gumpert, both pianists, composers, and big-band as well as small-group leaders, and trio, duo, and solo artists.

ENGLISH:
The aim of the exercises presented in this study is to train ii–V–I chord progression, which is the most basic chord progression in jazz, with the addition of diatonic and chromatic tensions through sequences in major keys. The tensions have been notated with red colored noteheads throughout the study.

In the education of jazz, it is a very common method to transpose a particular chord progression a whole step down until returning back to the starting point after six transpositions. In so doing, one goes through the steps of a descending whole-tone scale, each of which referring to a key centre (for example: C, Bb, Ab, Gb, E, D). After completing the circle, the same process is repeated a half step up. This method is also used in the present study. 

Although all segments of the sequences are written out throughout this study, it is not recommended to play them by reading the notes. The aim of the practice should always be to transpose the pattern without looking at the notes. The notes can be used afterwards to check the own solution.
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DEUTSCH:
Das Ziel der in dieser Studie präsentierten Übungen ist, die Akkordfolge ii–V–I, welche die grundlegendste Akkordfolge im Jazz ist, mit den hinzufügten Farbtönen (Optionen, tensions) durch Sequenzen in Durtonarten zu trainieren. Die Farbtönen wurden in allen Übungen mit den rot gefärbten Notenköpfen notiert.

In der Ausbildung für den Jazz ist es eine sehr verbreitete Methode, eine bestimmte Akkordfolge um einen Ganzton abwärts zu transponieren, bis man nach sechs Transpositionen zum Ausgangspunkt zurückkommt. Auf diese Weise geht man durch die Töne einer absteigenden Ganztonleiter, wobei jeder Ton der Tonleiter eine Tonalität vertritt (zum Beispiel: C, B, As, Ges, E, D). Nachdem der Kreis geschlossen wird, wiederholt man denselben Lauf um einen halben Ton höher. Auch in der vorliegenden Studie wird diese Methode angewendet.

Obwohl alle Abschnitte der Sequenzen in der ganzen Studie ausnotiert sind, ist es nicht empfohlen, sie mit den Noten zu spielen. Das Ziel des Übens sollte immer sein, das Muster zu transponieren, ohne auf die Noten zu schauen. Danach können die Noten benutzt werden, um die eigene Lösung zu prüfen.

Charlie Parker renovó completamente la estética del jazz. Refutación a las equivocadas tesis sobre Estética Musical del maestro Theodor Adorno de la Escuela de Frankfurt
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he American-born son of Indian immigrants and a 2011 Grammy nominee, VIJAY IYER (pronounced “VID-jay EYE-yer”) was described by The Village Voice as “the most commanding pianist and composer to emerge in recent years,” by The New Yorker as one of “today's most important pianists... extravagantly gifted,” by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” and by the L.A. Weekly as “a boundless and deeply important young star.” 

Even by these superlative terms, 2012 has been a remarkable year for Vijay Iyer. In an unprecedented series of wins, Iyer received top honors in five categories of the 2012 Down Beat International Critics Poll, including Jazz Artist of the Year, Jazz Album of the Year (for Accelerando), Jazz Group of the Year (for the Vijay Iyer Trio), Pianist of the Year and Rising Star Composer. No other artist in the sixty-year history of the magazine’s poll has ever taken five titles simultaneously.  A few days earlier, the Jazz Journalists Association voted Iyer Pianist of the Year in the 2012 Jazz Awards. (This is far from his first such accolade; in the 2010 Jazz Awards, the JJA voted Iyer Musician of the Year, an honor previously given to Herbie Hancock, Ornette Coleman, and Wayne Shorter.)  Earlier in 2012, he won two major arts prizes: the $225,000 Doris Duke Artist Award, and the $30,000 Greenfield Prize.

This is a solo track from the trio album Bluesette from 1979, but as usual, Hank Jones is even better performing on his own - apart from, perhaps, "Steal Away" his duo CD with Charlie Haden, from which I'll upload a transcription of  "Danny Boy" some time. Playing it is difficult if, like me, you can't span the left hand 10ths. You can listen to the original with the pdf here: https://youtu.be/WE0F9fXE_3U.

Bebop y su conjunción de estrellas de los años 40’. La crisis de la Depresión Económica y la Segunda Guerra Mundial parieron la revolución del Bebop. Historia del Jazz. Parte XLVI
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In the year 1951, pioneer jazz pianist and composer Lennie Tristano made groundbreaking musical experimentations and discoveries in the realm of jazz and improvised music by utilizing a Presto tape recorder in order to create overdubbing and multi-track recordings. With the use of the Presto recorder, Tristano created experimental works that resulted in a revolutionary approach to contrapuntal improvisations, superimposition of regular and odd rhythmic structures, over-layering of independent poly-melodic and polymodal structures, and experimentation with the limits of perception.

5 choruses of jazz blues playing, transcribed and analyzed. Blues, bop, riffs, permutations, and pianistic phrases abound. The solo is presented one measure at a time, in-depth. Key of G blues. BE was not know for his blues, but he sure could have been had he kept to this track.

Bebop, sufrido hijo de la Depresión económica, causó envidia y odio su nacimiento. Músicos tradicionales y Prensa maltrataron al recién nacido Bebop. Historia del Jazz. Parte XLVII
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A very good read, for you real aficionado’s [written in the vernacular of the idiom].

From Jazz Journal International [London], Vol. 49, No. 8, August 1996, pp. 16-18, 35.
JJI's editor prefaced Hakim's memoir with an account of its origin. 
I have made only slight stylistic corrections.
– Rashid "The Jazz Aficionado"
November 25, 2016

Bebop nace en los sótanos de la música no comercial y rebelde. La rítmica impulsiva y revolucionaria y no el metal y la caña, crearon el Bebop.  Historia del Jazz. Parte XLIV
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Kurt nos comparte su opinión sobre temas como la importancia de la música en la sociedad o en la formación de un niño, también nos da unos consejos para acercar a los jóvenes a la música.
¿Usted cree que la industria musical y las artes en general puedan convertirse en un pilar fundamental para el crecimiento económico de un país?
Absolutamente, de hecho en otros tiempos la música era un pilar fundamental en la economía de una sociedad, por ejemplo en la Italia renacentista. Toda la élite peleaba por contratar a los mejores artistas para que hicieran las mejores obras y así elevar su estatus al reflejar su riqueza y estabilidad económica —lo cual es un tipo de comercio—. Sí, puede sonar utópico, sin embargo, no mucho tiempo atrás era una realidad. Definitivamente ha sido comprobado que las artes han sido y pueden
ser un pilar —incluso económico— en la sociedad y debería ser apoyado no sólo por sus resultados monetarios sino como fábrica social creadora de personas preparadas. Las artes promueven educación y expanden el horizonte de la mente humana y es una herramienta perfecta para contraatacar la ignorancia: estas son las cualidades de una sociedad sana. Los artistas y el arte son una puerta para la sociedad para transformarse y tener estas virtudes que son importantes.

Giorgio Gaslini, scomparso il 29 luglio scorso, era nato a Milano il 22 ottobre del 1929. Pianista, compositore, arrangiatore, direttore d'orchestra, non era soltanto un protagonista della storia del jazz, ma un musicista multiforme che praticava con talento creativo e intel-ligenza critica anche altri generi musi-cali. Di formazione classica, compagno di corso di Claudio Abbado e Luciano Berio, consegue sei diplomi al Conservatorio di Milano studiando anche con Carlo Maria Giulini, ma si avvicina giovanissimo alla musica afro-americana, sua grande passione. Il suo primo disco è addirittura del '48. Fermamente convinto che il jazz sia solo un aspetto della musica contemporanea, dalla fine degli anni '50 inizia a promuovere contenuti innovativi, favorendo le condizioni per la nascita di un jazz di matrice europea. L'ampiezza degli interessi culturali e la sua lucidità programmatica lo portano a stabilire i fondamentali presup-posti teorici che contribuiscono subito a determinare le peculiarità della sua musica. Gaslini teorizza la musica totale in un Manifesto 2 del 1964, cogliendo utilmente il respiro delle neoavanguardie internazionali, che in quegli anni vanno riflettendo d'interdisciplinarità e di superamento delle categorie artistiche. Alcuni concetti essenziali, per molti versi già elabo-rati dalle avanguardie storiche, aprono ulteriori spazi di creatività. Dopo anni di disinteresse, le esperienze pionieristiche degli ismi novecenteschi diventano finalmente oggetto di grande attenzione. Da un lato, i critici e gli storici rivelano e valorizzano uno sterminato patrimonio di idee; dall'altro, gli artisti subiscono il fascino dell'interlinguaggio e via via ne consolidano le applicazioni, con un atteggiamento nuovo nei confronti della realtà e con efficaci strumenti tecnici e linguistici che amplificano le sollecitazioni verso l'intersezione tra le arti. L'idea di categoria è parzialmente assorbita da quella di continuità. La 1 Le foto vengono riprodotte per gentile concessione della Signora Marta Ceron: www.giorgiogaslini.it 2 Pubblicato in Giorgio Gaslini, Musica totale: intuizioni, vita ed esperienze musicali nello spirito del '68, Milano, Feltrinelli, 1975.

UITTREKSEL Handboek (onder de tab 'BESCHRIJVING'):
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OVER DE PUBLICATIE

NOTUS Muzieknotatie is een nieuwe en gemakkelijke muzieknotatie gebaseerd op het principe van ‘de notatie van slechts één octaaf om alle octaven te kunnen lezen’. Hierdoor is het memoriseren van de toonhoogtes tot 87% minder in vergelijkiing met de conventionele muzieknotatie (met de vijflijnen notenbalk en sleutels). NOTUS Muzieknotatie kent geen sleutels en ook de tekens mol, kruis en herstelling zijn vervangen door een veel eenvoudiger en gemakkelijker te leren systeem met 2 specifieke nootkoppen.
NOTUS is meer dan enkel deze wijzigingen (die op zich al revolutionair genoeg zijn) en is door de talloze vernieuwingen en correcties een volwaardig muzieknotatie alternatief waarmee ALLE muziek voor ALLE instrumenten en voor ALLE genres, in welke moeilijkheidsgraad ook, kan genoteerd worden.

Het NOTUS HANDBOEK is de NOTUS-bijbel en beschrijft in detail alle vernieuwingen en correcties t.o.v. de conventionele muzieknotatie. Het einddoel van alle wijzigingen staat steeds in dienst van het samenstellen van een veel eenvoudiger en sneller te leren muzieknotatie. Telkens is er antwoord op het ‘waarom?’ en het ‘hoe?’ van de vernieuwing/correctie waarbij op een logische wijze de zwakheden van de conventionele muzieknotatie op vlak van éénvormigheid, duidelijkheid en de negatieve invloed op muziekpedagogie en -didactiek worden verduidelijkt.
Elke vernieuwing/correctie is vergezeld van duidelijke vergelijkende schema’s en praktische NOTUS Muzieknotatie voorbeelden.
Verspreid over de hoofdstukken zijn acht transcripties van eenvoudige tot complexere (zelfs hedendaagse) partituren voor piano, solo cello, saxofoonkwartet en gitaar. Bij deze voorbeelden zijn steeds de conventionele partituur én de NOTUS partituur op naast elkaar liggende pagina’s opgenomen zodat een vergelijkende studie gemakkelijk is.
We merken voor alle duidelijkheid nog op dat het NOTUS HANDBOEK geen cursus is om een of ander instrument te leren of een cursus muziektheorie. Alhoewel dat laatste in vijf Appendices aan bod komt dienen deze Appendices enkel om aan te tonen dat NOTUS 100% is ingebed in de bestaande algemene muziektheorie. Het is enkel de wijze waarop en de praktische voorbeelden die wijzigen wanneer muziektheorie wordt verduidelijkt aan de hand van NOTUS.

De inhoud is onderverdeeld in vier delen en zeven bijlagen. Het eerste deel beschrijft de historisch-filosofische context van de noodzaak van een vernieuwing en de plaats en belangrijkheid van hedendaagse visuele communicatie in muzieknotatie. Na dit belangrijk inleidend deel worden alle wijzigingen die NOTUS aanbrengt in de conventionele notatie in detail beschreven in drie grote delen.

DEEL A
Deel A beschrijft de nieuwe manier om de NOTUS notenbalk samen te stellen met gebruik van een ‘anker-octaaf en octaafsegmenten’. Verder de beschrijving van enkele wijzigingen in noot- en rusttekens, de heel specifieke NOTUS overbinding en de nieuwe eenvoudige manier voor de notatie van halve tonen en toonsoorten.

DEEL B
Deel B beschrijft eerst alle vernieuwde herhalingstekens die NOTUS heeft onderverdeeld in twee groepen, nl. de onmiddellijke en uitgestelde herhalingen. Dan volgen de notatie van antimetrische figuren, een nieuwe familie fermates, een nieuwe manier om tremolo’s en vibrato te noteren en enkele kleinere wijzigingen in dynamiek en articulatietekens.

DEEL C
Deel C beschrijft de eenduidige notatie van boventonen voor alle instrumenten die boventonen kunnen produceren, enkele nieuwe tekens voor glissando en nieuwe tekens voor dempen, moffelen en stoppen van instrumenten. Deel C bevat eveneens een hoofdstuk over het gebruik van de nieuwe ‘NOTUS intervallen legende’ om toonladders samen te stellen zodat deze niet moeten gememoriseerd worden en om te transponeren. Daarna wordt deel C afgesloten met de NOTUS notatie van kwart- en driekwarttonen.

ZEVEN APPENDICES
Dan volgen 7 Appendices, waarvan vijf met muziektheorie verduidelijkt in NOTUS Muzieknotatie, een Appendix over de detaillering van de typografie in NOTUS en een Appendix met instructies en blanco notenbalken voor handgeschreven NOTUS notatie.
Op het einde van het boek is een lijst met alle nieuwe tekens, de bibliografie en de index.

The Great African-American Classical Art-Form

HORACE SILVER: FOR THE RECORD
In light and love
By: Jemela Mwelu
Contact: [email protected]

The great pianist, Horace Silver, has now joined his friends in that illustrious band in heaven. He did all he could for humanity with his music and is at peace.
However, there is a piece of unfinished business that remains here on Earth. As the surviving parent to our beautiful son, I am also a loving mother and warrior spirit, who will challenge anyone who would try to injure him by word or deed.

My latest in a series of posts specific to the year 2017, to run every couple of weeks throughout it, in honor of the 30th anniversary of an iconic part of American music’s glorious terrain. Asian Improv Arts (AIR) https://www.facebook.com/groups/71419325287/ is an organization that includes a label for recordings launched in 1987 by Jon Jang and Francis Wong. I am writing a chapter about AIR https://www.academia.edu/30601403/Asian_Improv_aRts_AIR_ for a book in progress, which I expect to be working on throughout the year.

This series of posts will be pithy reviews-cum-meditations from that chapter on each of the recordings of their own music Jang and Wong have released on AIR and related labels. (NOTE: my central focus on them in this series is not meant to slight other important people in the history. Other AIR artists will appear in other chapters, if and when I research and/or interview them as extensively as I’ve managed to do Wong and Jang to this point.)

This is my gesture alone, not coordinated with AIR itself or any of its members. It is something easy to share from work I happen to be doing already, which is basically that of an armchair ethnomusicologist. The regular posting of each of these things will lubricate the writing process for me, and perhaps be useful to some of AIR’s musicians and its anniversary activities.

Comments from any and all are welcome. I posted a link to the longer text recently and was happy to get a couple of corrections of facts, added info, and notices of glaring omissions from knowledgeable parties, all easy to incorporate immediately.

Once all the CDs to be reviewed so this year (Wong’s) are added to those already done (Jang’s), they’ll be worked into that full chapter where they go, toward final publication.

This review is a twofer—Two Flowers on a Stem and Self-Portrait, bundled for their total resonance with recent postings by Jang about his family history, in commemorations conjoined with AIR’s anniversary.

Uno de los mitos que necesitamos confrontar en la creación sonora experimental, es el que vincula el Noise con la música por ordenador y la música electrónica. El debate acerca de la estética de la máquina y el movimiento propuesta por los artistas futuristas en 1913, nubló de cierta forma la visión que permitía identificar los instrumentos musicales como tecnologías, mecanismos, artefactos… La música electroacústica evidencia esta porosidad de los conceptos entre tecnología y resultado. No es el artefacto el que determina la experimentación, son las ideas y los procesos. El " ruido " como principio estético, la " saturación " como principio de escucha, el " ritmo " como principio estructural, y la deconstrucción como posibilidad vía el Noise como género y escena creativa, exponen la necesidad de cuestionar este mito.

Edward W.Said (1935-2003) critico letterario e personaggio di spicco nel panorama culturale contemporaneo, compila un bellissimo profilo di Glenn Gould pubblicato dalla rivista Vanity Fair nel numero di maggio 1983. Said passa in rassegna vari aspetti della vita artistica di Gould. Pianista dotato di tecnica eccezionale, tocco inconfondibile, insolita capacità di concentrazione e trasporto durante le esecuzioni e poi ancora la scelta nel 1964 di abbandonare la scena a favore della sala d’incisione sfruttando così l’universo tecnologico che si spalancava innanzi ai suoi occhi in termini di infinite possibilità di riproduzione. Tutto ciò ha contribuito a fare di Gould un pianista che è stato spesso definito dalla critica “eccentrico” soprattutto se guardiamo a quelle esecuzioni in cui arrivava addirittura a sostituirsi al direttore d’orchestra con gesti non sempre intellegibili.
Ma nel leggere il contributo di Said su Gould cominciò nella mia mente a comporsi pian piano l’immagine di un altro pianista americano, a cui, artisticamente, devo molto.

Trio Corrente and Paquito D´Rivera: Improvisation, a Practise of Performance

Abstract: This research report refers to an ethnography of the sound check and concert of Trio Corrente with Paquito D'Rivera at the Caixa Cultural Theater, in Brasilia, on November 25 and 26 2014, in a context of the soundtrack and the concert itself. Focusing on improvisation processes of the pianist Fabio Torres and on the interaction among the musicians on stage, we tried to understand improvisation as real time composing. How is this process built up? What is the result of this process in a performance?

I’m going to start a new series of posts specific to the year 2017, to run every couple of weeks throughout it, in honor of the 30th anniversary of an iconic part of American music’s glorious terrain.

Asian Improv aRts (AIR) https://www.facebook.com/groups/71419325287/ is an organization that includes a label for recordings launched in 1987 by Jon Jang and Francis Wong. I am writing a chapter about AIR for a book in progress, which I expect to be working on throughout the year. This series of posts will be pithy reviews-cum-meditations from that chapter on each of the recordings of their own music Jang and Wong have released on AIR and related labels.

This is my gesture alone, not in coordination with AIR itself or any of its members. It is something easy to share from work I happen to be doing already, which is basically that of an armchair ethnomusicologist. The regular posting of each of these things will lubricate the writing process for me, and perhaps be useful to some of AIR’s musicians and its anniversary activities.

Comments from any and all are welcome. I posted a link to the longer text recently and was happy to get a couple of corrections of facts, added info, and notices of glaring omissions from knowledgeable parties, all easy to incorporate immediately.

Once all the CDs to be reviewed so this year (Wong’s) are added to those already done (Jang’s), they’ll be worked into that full chapter where they go, toward final publication.

This study investigated the effect of online teaching and individualized instruction in piano lessons of the department of music teaching on students" TPACK skills and achievements. The research was conducted on the basis of a pretest-posttest control group design. In the experimental group of the study, piano education was carried out with online learning and face-to-face individualized instruction, and in the control group, activities were carried out using the current distance learning method. Teaching activities lasted 20 lesson hours in the experimental and control groups. Piano Lesson Achievement Test and TPACK scale were used as data collection tools in the study. The Mann Whitney U test was used on the achievement and TPACK skills of the groups on the pretest and posttest scores. The findings of the research showed that the online learning and individualized instruction applied in the experimental group were more effective in the piano lesson achievement and some dimensions of the TPACK scale than the current curriculum.

Pan-Asian Ensemble: The biwa tells some stories unique to its own history. Offspring of the Middle Eastern oud by way of the Chinese pipa, it was born into a time of warring clans in 8th-century Japan. When one clan (Minamoto) wiped out the other (Heike) in a final naval battle, stories of a blind biwa player calling forth the spirits of the watery grave started up. The saga, told in the earliest music for voice and the instrument, form the foundation of the traditional repertoire still performed today.

Kaori Osawa: Aluminum is malleable, ductile, trivalent; it conducts well both light and heat; it’s light, reflective, resistant to oxidation...and is the most abundant element in the earth’s crust, where it always occurs in combination with other elements. Kaori Osawa’s solo piano CD consists of eight “original tunes or instant compositions” (part of the listener’s game is to speculate which are which), from 1:30 to 15:43 minutes long; and one mercurial interpretation of  Thelonious Monk’s “Well You Needn’t.”

Estudo sobre aspectos do tratamento pianístico do pianista e compositor Cesar Camargo Mariano em Cristal, registrada no álbum Solo Brasileiro, de 1994. Uma análise da conjunção entre "estruturas musicais afro-brasileiras" (OLIVEIRA PINTO, 2001) e a abordagem textural da escrita pianística revela uma síntese ou estilização da formação instrumental dos grupos populares. A prática do samba para piano remete à tradição dos chamados pianeiros, na qual Cesar Camargo Mariano se insere.