Improvising with Arrays
2021; Taylor & Francis; Volume: 40; Issue: 2-3 Linguagem: Inglês
10.1080/07494467.2021.2017156
ISSN1477-2256
Autores Tópico(s)Neuroscience and Music Perception
ResumoMy early training was in jazz, but in the late 1980s and 1990s I developed a passion for the music of Milton Babbitt, and as a result of immersing myself in his language and techniques, developed a set of improvisational-compositional concepts based on Babbitt-style pitch-class arrays. These experiments were a means of developing my own personal musical style and ‘sound’ as a composer within a jazz context, and I worked on the ideas with jazz musicians who were grounded in a shared bebop and post-bop vocabulary. For this double issue dedicated to Babbitt, I was prompted to write this article, which retrospectively gathers and details some of the techniques I developed at that time. In reviewing the wealth of materials (charts, sketches, diagrams, scores, arrays) I had generated during those years, it became clear that I had opened many paths and directions for array improvisation that remain only incompletely explored, with further work to be done, as my own artistic path evolved in other directions. This article provides a preliminary and partial account of these array-based improvisational-compositional concepts.
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