Free Improvisation in Europe:Lecture and Hands-on Workshop, given at 5 different universities in Brazil during February - June 2014

The lecture traces the beginnings of the free improvisation scene in Europe, commencing in the 1960. I present a multitude of video and audio examples of some of the most prominent improvisers of the time.
I focus specifically on the scene that developed around John Stevens and his SME (Spontaneous Music Ensemble). The work of Derek Bailey, specifically his writings in “Improvisation: its nature and practice in music” (1980), will feature.

The practical workshop invites improvisers (beginners to advanced with any instruments) to work with me on several listening and improvisation exercises.
Many of the exercises will be based on the innovative methods as developed by John Stevens in his work “Search and Reflect”. Participants will be able to experiment with a few essential ‘sound/listening’ exercises, guided by myself.
It is envisaged that a small ensemble is formed which will explore several improvisatory strategies. This part is open to all skill levels, all ages and any instrumental groupings.

Trio Performance with 'Faint' at "Sounds New Contemporary Music Festival":Graphic Scores and Free improvisation: Canterbury, Kent

The programme contained a performance by the trio FAINT (Pedro Rebelo - Piano and instru- mental parasites, Franziska Schroeder - Saxophone and Steve Davis - Drums). The performance includes short electroacoustic works based on the trio's free improvisation and a performance of Rebelo's Cipher Series graphic scores.

Playing free: an ethnography of Brazilian free improvisers

In this article I investigate the practice of free music improvisation in Brazil. The reflections and findings presented here are derived from research conducted as part of a four months Higher Education Academy (HEA, UK) Fellowship, carried out between February and June 2014. The aim was to enquire whether or how the practice of free improvisation is taught in the Brazilian higher education system.
As part of this ethnographic study visits to the following universities were scheduled:
The Federal University of Rio de Janeiro - UFRJ
The Universidade Federal do Estado do Rio de Janeiro (UNIRIO)
The University of São Paulo - USP
The Federal University of Minas Gerais – UFMG
The Federal University of Bahia – UFBA.
The Federal University of Rio Grande do Norte in Natal (UFRN) and
The ELM, the Escola Livre de Música in Unicamp.

I discuss here some general background thinking to the research process, specifically recalling the work of French composer and educator Alain Savouret. I proceed to examine the improvisational spirit, the improvisatory worldmaking approach (the ‘jeitinho brasileiro’) that is often considered to be integral to the Brazilian way of life. In the final part of the article I discuss applied ethnographic methodologies, including the design of questions that were used for over 50 video interviews with Brazilian musicians during the research. I conclude with a final reflection on the video interviews with a specific focus on whether free improvisation can be taught, and the importance of listening in the context of free improvisation practices.

Fauna

Stapleton’s self designed instrument, the BoSS (Bonsai Sound Sculpture, 2010) combines with Rose’s circular breathed baritone, multi-phonic and harmonic textures, to explore other sound worlds through real time interaction/composition. The method of exploration commits to a free improvisation aesthetic whereby the music is created at the point of performance. Encountering one another’s music while performing at the ‘Call them Improvisers’ performance at SARC, an ensemble directed by Evan Parker (November 2010) an affinity to the possibilities of one another’s particular approach became immediately apparent. This strongly identified connection led them to further explore the musical possibilities within the parameters created by the duo setting. Duo activities include concerts at Ausland (Berlin), SARC (Belfast), Sowieso (Berlin), Wendel (Berlin), and a recording with Elmar Susse in Hoffnungskirche, Pankow released by the California-based pfMENTUM record label in 2013.

This output is published in the form of an audio CD on the pfMENTUM record label.

Barely Cool

This CD was recorded in Rio de Janeiro, May 2014 as part of the HEA International Scholarship work. It includes some of Brazil's most foreward and current improvisors and received a one hour radio play in June 2014 on Rio's Radio MEC station. It is released on the specialist improvisation label 'pfmentum' (San Diego).

Instrumental Parasites: Interfacing the Fragile and the Robust

The parasitical relationship between the grand piano and the myriad objects used in its preparation as pioneered by John Cage in the late 1940’s is here discussed from a perspective of free improvisation practice. Preparations can be defined as the use of a “non-instrument” object (screws, bolts, rubbers etc…) to alter or modify the behaviour of an instrument or part of an instrument. Although also present in instrumental practices based on the electric guitar or the drum kit, the piano provides a privileged space of exploration given its large‐scale resonant body. It also highlights the transgressive aspect of preparation (the piano to be prepared often belongs to a venue rather than to the pianist herself, hence highlighting relationships of trust, care and respect). Since 2007 I have used a guitar-object (a small wooden board with strings and pick ups) connected to a small amplifier to prepare the grand piano in my free improvisation practice. This paper addresses the different relationships afforded by this type preparation which is characterised by the fact that the object for preparation is in itself an instrument (albeit a simplified one), and the preparation is ephemeral and intrinsic to the performance. The paper also reflects on the process of designing an interface from and for a particular practice and in collaboration with a guitar luthier.

Dialogues des cultures et esthétiques dans les "musiques improvisées"

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

A idéia de jogo em obras de John Cage e no ambiente da livre improvisação

Este texto examina as principais diferenças de enfoque relacionadas ao papel dos intérpretes na realização de duas diferentes propostas de jogo. Para tanto, são comparadas algumas obras de John Cage e as práticas de grupos que se dedicam à livre improvisação musical, principalmente do grupo Akronon.1 Procura-se demonstrar que as propostas de Cage, que estão situadas num plano conceitual, e as propostas da livre improvisação, que partem de uma prática experimental interativa baseada numa manipulação empírica dos sons, resultam em concepções bastante distintas a respeito do papel do intérprete. A partir desta perspectiva, afirma-se o caráter potente da livre improvisação que pode ser pensada enquanto prática de um jogo ideal conforme conceituação proposta pelo filósofo francês Gilles Deleuze

A idéia de corpo e a configuração do ambiente da improvisação musical

O objetivo deste texto é evidenciar a importância da ideia de corpo para a reflexão sobre o ambiente da improvisação musical. Este tipo de prática em tempo real que parte de uma relação direta dos músicos com os seus instrumentos sem a mediação de uma partitura tem como ponto de partida inevitável o corpo dos improvisadores envolvidos. O corpo funciona tanto como um fator de reprodução de possíveis – refletindo os limites do próprio corpo (repetição) - quanto como um potencializador de produção de virtualidades – fundamentados numa expansão destes limites (diferença). Trata-se então de examinar, no agenciamento da improvisação, como o corpo pode ser entendido como detentor deste duplo dinamismo e, neste contexto, que tipo de relacionamento pode estabelecer com a matéria sonora. Procuraremos também estabelecer o papel das ideias de desejo e prazer na configuração deste dinamismo e relacionar esta reflexão com as propostas de improvisação livre e idiomática. Para esta discussão serão utilizados alguns conceitos formulados por Gilles Deleuze como território e linha de fuga, as reflexões de Paul Zumthor sobre corpo, oralidade e performance e as discussões epistemológicas de Edgar Morin sobre o conhecimento e a cultura

A livre improvisação musical e a filosofia de Gilles Deleuze

Nos últimos anos a improvisação passou a figurar como um tema cada vez mais presente nos ambientes acadêmicos e hoje é considerada uma importante linha de pesquisa. A nossa reflexão sobre a livre improvisação, além de se apoiar em nossas experiências práticas, tem como uma das suas principais referências a obra do filósofo francês Gilles Deleuze de quem são emprestados conceitos fundamentais tais como, estratificação, território, plano de consistência, molaridade e molecularidade, corpo sem órgãos, ritmo, meios e ritornelo. Neste artigo, originalmente publicado no número 49, vol. 1 da revista Perspectives of New Music, trataremos de mostrar de que forma estes conceitos nos auxiliam a pensar e fundamentar a livre improvisação musical conforme a concebemos em nossos trabalhos práticos e teóricos.

Le projet feedback : recherche d'un point de rencontre stylistique entre la musique électroacoustique glitch, le free jazz et le drone metal.

L’objectif principal de cette thèse de doctorat en composition consiste en la conceptualisation et création d’une oeuvre pour guitare électrique et dispositif électronique se situant à un point de rencontre stylistique entre le free jazz, la musique électro glitch et le drone métal. Le présent texte vise principalement à expliciter la démarche de création de cette oeuvre, intitulée feedback. À la suite du chapitre d'introduction qui décrit l'origine et les objectifs de ce projet de composition, le premier chapitre est consacré à une réflexion sur l'improvisation musicale. En partant d'une description générale de cette pratique et de ses origines, cinq manifestations de l'improvisation qui ont influencé l’oeuvre y sont décrites. Dans le deuxième chapitre est présentée l'hyperguitare qui a été développée pour la pièce ainsi que la description de ses composantes matérielles et logicielles. Dans le troisième chapitre sont décrits le contexte de création, le rôle de l’improvisation dans le processus de création et la description technique des quatre oeuvres composées en amont de feedback. Le quatrième chapitre est dédié à la pièce feedback inspirée de l'œuvre cinématographique et littéraire Fight Club et imprégnée, sur le plan stylistique, de la culture rock, du free jazz et de la musique électroacoustique glitch. En conclusion sont présentés les nouveaux objectifs que ces recherches ont engendrés.