Synopsis
A course focusing on the forms and creative languages of improvisation, including influences from aesthetics, philosophy, technology and the interactive role of individuals in shaping improvisation. Investigating the relationships of the principles of musical improvisation to other art forms is also included. Class projects include extensive listening, reading, and written assignments, comparative analysis exercises, and creative composition projects.
Reference Texts:
'Miles: The Autobiography'-Miles Davis with Quincy Troupe
Overview
Part 1 (Sessions 1-7) (A) Introduction to a new systemic language for creative improvised music analysis.
(B) Performance: 'Bitches Brew' (1969), New York City
(C) The solo, ensemble and the art of performance
Performance: 'Live Evil' (1970), Washington D.C.
(D) Creative music in a cultural context
Performance: 'On the Comer' (1972), New York City
(E) Miles Davis systemic and symbolic improvisational conceptions for ensemble.
(F) The electric bass-line as a central control factor for improvisation. Performance: 'On the Corner' (1972), New York City
Overview-Part 2 (Sessions 8-14)
(G) A comparative study of the West African Drum Orchestra and Miles Davis Electric Ensemble.
Performance: 'Calypso Frelimo' (1974), New York City
'Dark Magus' (Uve-1974), New York City
(H) Miles Davis electric music and K Stockhausen electronic music -Is there a connection?
Performance: 'Pangea' (1975)
(I) Miles legacy as a creative artist and his contribution to American music. Performance: 'Agharta' (Live-1975) japan |
