1 Play - Talk -share

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Phil Morton
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1 Play - Talk -share

Post by Phil Morton » Tue Oct 24, 2017 8:01 am

Click - [Phil Morton]
Workshop session design
Short summary
USR - P543
  • Example using 8 musicians in the room
  • The playing : 2 - 4 musicians play freely improvised music for a fixed time, 6 minutes for example
  • The talking : The musicians then talk about the piece, give testimony to their experience
  • The discussion part 1 : The listeners respond to the musicians testimony by; seeking clarifications, asking open questions, to draw out of the players further testimony of the musicians / the players experience. In part 1 the listeners do not : make statements, make judgments, asked closed questions
  • The discussion part 2 : The listeners give testimony to their experience of listening to the playing.
  • The discussion part 3 : Open random, sharing of chat and ideas and thoughts
  • Notes : there is no `exercise element, the players just play free improvised music with the only instruction being the use a clock,
  • The process is to repeat the above : play:discussion > play:discussion > play:discussion> repeat till break. After the break repeat.
Comments :
  • Phil Morton, thinks the sequencing of the chat, how it flows maybe an utopian ideal. To be explored.
  • This is a good format for whole day explorations of the art form
  • Short session 1 -3 hours : the chat may take up to much time
  • variations : The listeners only follow the `part 1` brief and make no statements or testimony of their own. They are however encouraged to keep notes. The notes can be shared at a later point for example; at the end of the whole session, before an interval. more citation required.
  • Trouble shooting : this can be very demanding musicians are, playing, listening, engaging in discussion. All require high levels of concentration and individual may become tired or too tired.


Aim of the session
  • To develop a literacy that enables the verbal articulation and sharing of ideas.
  • To develop the music; particular sensibilities or values may become more apparent through the combination of playing and discussion. This may help us negotiate improvisations with further sensitivity and awareness, even if a unified Centrifuge ‘aesthetic’ does not emerge (although this might happen too!). Source : Adam Fairhall
  • P Morton writes, to encourage discussion about the experience rather than it remaining an experience.
Credits

Phil Morton put the package together
Steve Lewis provided the insight, the deal breaker: In the discussion the musicians / the players start the chat
Adam Fairhall provided the text for the aim ( which is in fact lifted from the aim of `centrifuge developing an aesthetic`

Delivered

Citation to follow
Phil Morton
mob : 07999518582
skype id nervetech

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