Ich glaube, da Thomas Meyer has stirred up a hornet's nest. Thanks to him that he has done that. The amazing response of his article is to be welcomed for the Dissonance.
After repeated reading but nowhere can I find a statement against the Free improvisation, even if some funding agencies that might want to read so and take the affected improvisers the text (too) personally. Nevertheless, here a few thoughts of an older animal that has taught from 1975 to 1983, the target subject at annual rates in a basic course teacher training and a group of young people in music school Basel (group Archeopterix from which today emerged some bestallte professional musician are) has exercised. The main reasons to include this subject in the curriculum were then pedagogical nature. "How can be naturally integrated the learning of musical thought operative in every music class?" I then put the financing of such a political subject. I also discussed why students in the training experience in free improvisation is a priority to theory building that can use them only when some practical experience are available.
After the groundbreaking book by Umberto Eco (The Open Work, 1968), it was clear that find this kind of music-making into a new, liberated world view of our Western society input would have.
It is therefore not primarily musical reasons (If the free improvisation free jazz or avant-garde of John Cage's philosophy or wherever?), But particularly, educational, political and psychological, at the time were decisive free for this " "Art of making music.
Educational: How can technical limited capabilities acoustic phenomena are produced, both result in the interaction with other people to musical experience? By taking away the pressure of the no-fault-making is being allowed to promote their own decision.
political / sociological: What are the preconditions that I - even though I speak no instrument - with sounds active and not just consuming it I? (For this example, Cornelius Cardew's Nature Study Notes, Improvisation Rites in 1969 for his Scratch Orchestra: Example: "For any number of musicians playing melody instruments plus any number of non-musicians playing anything"). This means that improvisation is an attitude that is accessible to all. By dispensing with a traditional aesthetics of the existing canon is called into question, respectively. invited to the dialogue.
Psychological: It was then soon realized that if we improvised "free" without any precautions that are far exceeded especially in the limit of the amateurs would be that the group broke away in no more psychologically manageable realm: I remember an improvisation in a church center, as one participant struck suddenly wild with a chair on the altar.
was time all relatively "new" and "exciting" (except that as a professional composer just out of training came, which was based exclusively on serial technology or as a youth, he wanted to play no scales, is chaotic on could move the keys, or as an adult, who had never learned an instrument, but could now finally be there in a group). The UE-Verlag, in its Red Series pioneered with its materials, the Music Academy of Basel in 1974 issued a number of "information and attempts" (the most relevant publication Nr.XI the rules of improvisation and free and Katrin Susi was Würmli , 1982), John Paynter and Peter Aston went to Sound and Silence, 1970, the phenomenon fundamentally after.
As I witnessed this first departure was then ended when the subject was finally offered in several universities and for me personally and subjectively, it was the moment when I ceased even to teach the subject: Each year was as a new group and always after a year, when finally a musical Development could have happened, we broke up. But many are musically developed further so that they reached the highest forms of musical expression. When I was in 1987 at the greeting of my first vintage of students as head of the Conservatory of Lucerne asked the approximately 30 new, straight on to play just once, there was quite a fuss. Only a small group found the reasonable and could move into the tumult of a musical. Fifteen years later, there was hardly anyone who has not participated willingly and with some prior knowledge.
The Lucerne meetings for free improvisation, Ensign Walter, Peter K Frey and Christoph Baumann with the help of the Lucerne Conservatory in the late eighties called into being, so to speak, was a first theoretical study of this development. The number of "improvisation" of the Amadeus-Verlag with the reports of these meetings went far beyond just the musical aspects of improvisation. They escaped to the issue, as Meyer suggests, they saw the phenomenon on a much larger anthropological context. As an example, the contribution of the linguist François Grosjean serve, the parallels to "play" within the encyclopedic knowledge of a speaker or the one who pulled Edward Hall, the anthropological practices between different cultures described: To what extent were the "free Improvisations "in human society, in analogy to the musical improvisation?
We have seen an Musizierart has virtually established itself as a species. Just as then, the Jazz in his early years, exciting and new (and sometimes also socio-politically motivated), established change and develop but it is also needed. What I think appeals to Thomas Meyer, this threshold is reached. If you want to improvise freely, as we have done in the last forty years, today we have the sophistication - dodge (which some may well) or we have to go in new directions - in the really high art. A certain "Déjà-entendu" is quite recognizable in these efforts. Not with the individual, but in aesthetic or against aesthetic attitude. Wherever you go, is precisely the excitement. But today there are whole new areas, such as at the intersection of virtual and physical improvisation, which at that time in the analog age of electronics has not been accessible or in some other way. The options will feed back to our ways of playing without electronics.
But one thing is clear: There is no reason not to support the free improvisation as a form of expression in contemporary music. It is easily grown, but so they can sich noch lange nicht selber Finanzieren.
Thüring Bräm
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