http:///localhost/wiki/api.php?action=feedcontributions&user=Admin&feedformat=atomImprovisers' Networks Online Mediawiki - User contributions [en]2024-03-29T14:24:19ZUser contributionsMediaWiki 1.23.5localhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:32:47Z<p>Admin: /* Break through - a new device */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
<br />
Phil Morton's personal observation of the limits of collective practice resulted in the use of egg timers to restrict and discipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.<br />
<br />
The limits of ensemble music making were the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of other individuals.<br />
<br />
'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION<br />
'''<br />
<br />
Second situation<br />
<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
<br />
Here is an example of a second generation adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device, third generation ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:31:53Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
<br />
Phil Morton's personal observation of the limits of collective practice resulted in the use of egg timers to restrict and discipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.<br />
<br />
The limits of ensemble music making were the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of other individuals.<br />
<br />
'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION<br />
'''<br />
<br />
Second situation<br />
<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
<br />
Here is an example of a second generation adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:30:45Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
<br />
Phil Morton's personal observation of the limits of collective practice grew resulted in the use of egg timers to restrict and dicipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.<br />
<br />
The limits of ensemble music making were the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of other individuals.<br />
<br />
'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION<br />
'''<br />
<br />
Second situation<br />
<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
<br />
Here is an example of a second generation adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:24:14Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION<br />
'''<br />
<br />
Second situation<br />
<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
<br />
Here is an example of a second generation adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:20:39Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
'''ADD AN IMAGED OF A SIMPLE EGG TIMER - FIRST GENERATION<br />
'''<br />
<br />
Second situation<br />
<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
<br />
Here is an example of an adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:14:26Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
Here is an example of an adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.<br />
<br />
[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/File:Eggtimer_ballo_tacettop_crop2.pngFile:Eggtimer ballo tacettop crop2.png2023-11-13T09:09:38Z<p>Admin: </p>
<hr />
<div></div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-13T09:05:25Z<p>Admin: </p>
<hr />
<div>'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:36:10Z<p>Admin: /* Initial feedback and responses */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:33:59Z<p>Admin: /* Initial feedback and responses */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:33:18Z<p>Admin: /* Initial feedback and responses */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
<br />
It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"<br />
<br />
<br />
System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well<br />
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool<br />
<br />
<br />
`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context<br />
<br />
<br />
It gives me permission to do nothing<br />
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session<br />
<br />
<br />
Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.<br />
Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:19:04Z<p>Admin: /* Break through - a new device */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075<br />
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:08:43Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through - a new device ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:07:26Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:05:50Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|thumb||left]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:02:41Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|thumb||left]]<br />
<br />
More text to follow<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T20:00:34Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|thumb||left]]<br />
<br />
More text to follow<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T19:59:45Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|thumb||left]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T19:58:45Z<p>Admin: /* Break through */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:mechanical_labelled_600_450px.jpg|thumb|left|]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/File:Mechanical_labelled_600_450px.jpgFile:Mechanical labelled 600 450px.jpg2023-11-09T19:56:17Z<p>Admin: Amended leap chess clock</p>
<hr />
<div>Amended leap chess clock</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T08:40:39Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
First situation.<br />
In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.<br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?<br />
<br />
The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.<br />
<br />
This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.<br />
<br />
Second situation<br />
This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.<br />
<br />
In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.<br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-09T08:35:08Z<p>Admin: </p>
<hr />
<div>'''This is a draft document. Please ignore. Please proceed to the section titles introduction.'''<br />
<br />
<br />
* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
*In a workshop environment 2008 Phil Morton was working with 14 musicians on the topic of free improvisation in music. His observation was: small group exercises are good but it reduces active playing time for the participants,although he thought one solution is that the fourteen musicians could play together as an ensemble in piece his judgement was that the musicians did not have the shared skills or experience to play free improvised music as a large ensemble. <br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation.<br />
How does the egg timer offer a solution to the problem? <br />
<br />
The egg timer introduced tacet/feeplay timing so the musicians present could mange their ensemble output, with sound and silence. The musicians retain agency over their sonic contributions and the introduction of silence/tacet regulates the sound mass so that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers. This simple solution to a collective practice was supported by his experience of using egg timers for his own private practice which he had introduced in 1998.<br />
<br />
*In 1998 Phil Morton started to use adapted egg timers for personal use only. This was his response to the behaviour that is over-playing or playing too much because in the sonic world of free improvisation there is nothing to stop you except your sensitivities and awareness, or alternatively you can be swept along by the excesses of others. <br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/System_50:50_for_improvisersSystem 50:50 for improvisers2023-11-07T10:23:01Z<p>Admin: /* Early years - how it started. */</p>
<hr />
<div>'''Use this template to create a new page then updating the page with content'''<br />
<br />
* To use this template > go to edit > select all text and copy<br />
* Create the new wiki page listing then paste this template text into the new page<br />
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* The process is, edit this document, add text, delete headings not required, use preview, when happy, notate the summary (what did you just do), click save, BIG REQUEST : USE THE PREVIEW OPTION THEN SAVE, avoid multiple unrequired saved versions of this document.<br />
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]<br />
* When in edit mode, refer to footer of this wiki page "Editing help" <br />
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]<br />
* Remember to check the category, change if required, to verify action go to > special pages > catagories > select your catagory > check your page is present in the list displayed <br />
* Delete this section when updating is complete<br />
<br />
<br />
<br />
'''Full name''' (D.O.B, Location) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer nec odio. Praesent libero. Sed cursus ante dapibus diam. Sed nisi. Nulla quis sem at nibh elementum imperdiet. Duis sagittis ipsum. Praesent mauris. Fusce nec tellus sed augue semper porta. Mauris massa. Vestibulum lacinia arcu eget nulla. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. <br />
<br />
<br />
== Introduction This page starts here ==<br />
<br />
<br />
<br />
<br />
== Early years - how it started. ==<br />
<br />
Two situations can be identified as the (possible) origins of System 50:50 for improvisers <br />
<br />
*In a workshop environment 2008 Phil Morton was working with 14 musicians on the topic of free improvisation in music. His observation was: small group exercises are good but it reduces active playing time for the participants,although he thought one solution is that the fourteen musicians could play together as an ensemble in piece his judgement was that the musicians did not have the shared skills or experience to play free improvised music as a large ensemble. <br />
<br />
Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation.<br />
How does the egg timer offer a solution to the problem? <br />
<br />
The egg timer introduced tacet/feeplay timing so the musicians present could mange their ensemble output, with sound and silence. The musicians retain agency over their sonic contributions and the introduction of silence/tacet regulates the sound mass so that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers. This simple solution to a collective practice was supported by his experience of using egg timers for his own private practice which he had introduced in 1998.<br />
<br />
*In 1998 Phil Morton started to use adapted egg timers for personal use only. This was his response to the behaviour that is over-playing or playing too much because in the sonic world of free improvisation there is nothing to stop you except your sensitivities and awareness, or alternatively you can be swept along by the excesses of others. <br />
<br />
add image of egg timer<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== What happened next ==<br />
<br />
Between 2008 and 2016 this concept remained dormant .<br />
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.<br />
The egg timer had low usage in Phillip Morton's personal practice.<br />
<br />
== Centrifuge,Preston and the great leap forwards 2016 ==<br />
<br />
Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that is rewarding. A better delivery of the idea was required.<br />
<br />
The idea (or composition framework) was strong the delivery method was week.<br />
How to move forwards? how to use research to bring an upgrade to the delivery method.<br />
His response was cathartic!<br />
<br />
* Book a venue (very expensive) for a public concert called Centrifuge<br />
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.<br />
* Plan this event 3 months in advance<br />
* Find the solution because you have to - this is pressure.<br />
<br />
Sometimes, necessity is the mother of invention, it was. More on that later.<br />
<br />
Following the success of the Centrifuge concert, the next step was to research System 50:50 for improvisers on a regular basis (Monthly) with a regular group.<br />
The place and space for this was UCLan University Preston - more citation to follow'<br />
<br />
== Break through ==<br />
<br />
citation to follow<br />
<br />
add image of the adapted chess clock<br />
<br />
[[File:imagename.jpg|200px|none |thumb|left|alt text]]<br />
<br />
== Initial feedback and responses ==<br />
<br />
citation to follow<br />
<br />
== Set list designs - the gift that just keeps on giving ==<br />
<br />
citation to follow<br />
<br />
* The basic design<br />
* Rotation - citation to follow<br />
* Reversal<br />
* Reversal - split groups<br />
* Size of the ensemble<br />
** Four, Eight, Sixteen, Twenty four - citation to follow<br />
* Duration - citation to follow<br />
* Number of players.<br />
* Errors<br />
* Vandalism<br />
* Half the sky - citation to follow<br />
* Ensemble sound mass<br />
* A series of pieces that make up a collection<br />
<br />
== The Pandemic and the zoom revolution==<br />
<br />
citation to follow<br />
<br />
== Discography ==<br />
<br />
citation to follow<br />
<br />
== Examples of ensembles and groups ==<br />
<br />
citation to follow<br />
<br />
== In the workshop & the ensemble study ==<br />
<br />
citation to follow<br />
<br />
== Projects ==<br />
<br />
citation to follow<br />
<br />
== Ensemble sound mass and density ==<br />
<br />
citation to follow<br />
<br />
== External web pages & Social media links ==<br />
<br />
citation to follow <br />
<br />
== Philosophy, claims and revolutions ==<br />
<br />
citation to follow<br />
<br />
<br />
<br />
[[Category: System 50:50]]</div>Adminlocalhost/wiki/index.php/LickLick2020-05-01T12:21:23Z<p>Admin: Created page with "The word lick in American slang literally means “small amount.” It is a familiar term that was initially associated with jazz and blues and later to rock when artists star..."</p>
<hr />
<div>The word lick in American slang literally means “small amount.” It is a familiar term that was initially associated with jazz and blues and later to rock when artists started playing with jazz influences. The definition of lick depends on the type of music: jazz and blues guitarists tend to talk about licks only during an improvisation. In this case, a lick is a small sequence of notes used in combination with others to improvise. A lick could also be a unit of measurement of a solo that can be divided into licks, even if it is an arbitrary process.<br />
<br />
source<br />
Pedagogical applications of cognitive research on musical improvisation (May 2015)<br />
Michele Biasutti* Department of Philosophy, Sociology, Education and Applied Psychology, University of Padova, Padova, Italy<br />
<br />
[https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00614/full source webpage, it is a footnote]</div>Adminlocalhost/wiki/index.php/Experimental_musicExperimental music2020-02-17T20:44:25Z<p>Admin: Created page with "This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Experimental_music Experimental music]" This mediawiki site, a `wiki dictionary` about..."</p>
<hr />
<div>This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Experimental_music Experimental music]"<br />
<br />
This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.<br />
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.<br />
<br />
==Introduction, copied from Wikipedia==<br />
<br />
Experimental music is a general label for any music that pushes existing boundaries and genre definitions (Anon. & n.d.(c)). Experimental compositional practice is defined broadly by exploratory sensibilites radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music (Sun 2013). Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Artists may also approach a hybrid of disparate styles or incorporate unorthodox and unique elements (Anon. & n.d.(c)).<br />
<br />
The practice became prominent in the mid-20th century, particularly in Europe and North America. John Cage was one of the earliest composers to use the term and one of experimental music's primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. In France, as early as 1953, Pierre Schaeffer had begun using the term musique expérimentale to describe compositional activities that incorporated tape music, musique concrète, and elektronische Musik. Also, in America, a quite distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of experimental musical instruments. Musique concrète (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid clichés, i.e. overt references to recognizable musical conventions or genres. <br />
<br />
== Section at Experimental Music wikipedia page on `free improvised music` ==<br />
<br />
Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid overt references to recognizable musical genres. The term is somewhat paradoxical, since it can be considered both as a technique (employed by any musician who wishes to disregard rigid genres and forms) and as a recognizable genre in its own right. <br />
<br />
<br />
==Link to the Wikipedia page==<br />
https://en.wikipedia.org/wiki/Experimental_music<br />
<br />
__FORCETOC__</div>Adminlocalhost/wiki/index.php/Critical_Studies_in_ImprovisationCritical Studies in Improvisation2020-02-17T19:42:58Z<p>Admin: Created page with "Critical Studies in Improvisation/ Études critiques en improvisation is an open-access, peer-reviewed, electronic, academic journal on improvisation, community, and social pr..."</p>
<hr />
<div>Critical Studies in Improvisation/ Études critiques en improvisation is an open-access, peer-reviewed, electronic, academic journal on improvisation, community, and social practice housed at the University of Guelph. The editorial and advisory boards are made up of leading international scholars spanning diverse disciplines.<br />
<br />
==Introduction==<br />
<br />
While improvisational music has historically been analyzed within specific musical disciplines, what distinguishes the research profiled in CSI/ECI is its emphasis on improvisation as a site for the analysis of social practice. We contend that improvisation demands shared responsibility for participation in community, an ability to negotiate differences, and a willingness to accept the challenges of risk and contingency. Yet improvisation is a contested term. Its cultural significance is in dispute both in the academy and in the broader public understanding. CSI/ECI seeks to reveal the complex structures of improvisational practices and to develop an enriched understanding of the social, political, and cultural functions those practices play.<br />
<br />
We are particularly interested in historically and contextually specific articles that interrogate improvisation as a social and musical practice, and that assess how innovative performance practices play a role in developing new, socially responsive forms of community building across national, cultural, and artistic boundaries.<br />
<br />
==External Links==<br />
[https://www.criticalimprov.com/index.php/csieci/index web link]<br />
<br />
<br />
__FORCETOC__<br />
<br />
[[Category:Resources & Research ]]</div>Adminlocalhost/wiki/index.php/Acousmatic_musicAcousmatic music2020-01-04T19:43:33Z<p>Admin: </p>
<hr />
<div>This term has been covered by the website Wikipedia as "Acousmatic music"<br />
<br />
This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate that listing.<br />
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.<br />
<br />
==Introduction, copied from Wikipedia==<br />
<br />
Acousmatic music (from Greek ἄκουσμα akousma, "a thing heard") is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance. It stems from a compositional tradition that dates back to the introduction of musique concrète (a form of musique expérimentale)[1] in the late 1940s. Unlike musical works that are realised using sheet music exclusively, compositions that are purely acousmatic (in listening terms) often exist solely as fixed media audio recordings.<br />
<br />
The compositional practice of acousmatic music features acousmatic sound as a central musical aspect. Other aspects traditionally thought of as 'musical' such as melody, harmony, rhythm, metre may be present but more often consideration is given to sound-based characteristics such as timbre and spectrum. Compositional materials can include sounds derived from musical instruments, voice, electronically generated sound, audio that has been manipulated using various effect processors, as well as general sound effects and field recordings.<br />
<br />
The music is produced with the aid of various music technologies, such as digital recorders, digital signal processing tools and digital audio workstations. Using such technology various sound materials can be combined, juxtaposed, and transformed in any conceivable manner. In this context the compositional method can be seen as a process of sound organisation: a term first used by the French composer Edgard Varèse.[2] <br />
<br />
==Link to the Wikipedia page==<br />
<br />
[https://en.wikipedia.org/wiki/Acousmatic_music Acousmatic music]<br />
<br />
==See also available ==<br />
[https://en.m.wikipedia.org/wiki/Acousmatic_sound Acousmatic sound]<br />
<br />
__FORCETOC__</div>Adminlocalhost/wiki/index.php/Club_db_BangorClub db Bangor2020-01-04T17:16:55Z<p>Admin: </p>
<hr />
<div>'''This is a legacy item: This venue has closed down.<br />
'''<br />
== Basic contact details and links ==<br />
<br />
A live music venue in Bangor Gwynedd, Wales<br />
<br />
Club db<br />
318 High St, <br />
Bangor LL57 1YA<br />
Gwynedd Wales<br />
<br />
01248 371777<br />
<br />
Monday, Closed<br />
<br />
Tuesday Closed<br />
<br />
Wednesday, Closed<br />
<br />
Thursday, Closed<br />
<br />
Friday 8pm–1:30am<br />
<br />
Saturday 8pm–1:30am<br />
<br />
Sunday Closed<br />
<br />
<br />
<br />
[[File:Club_db.jpg]]<br />
<br />
<br />
<br />
<br />
<br />
== Facilities available ==<br />
* Room description `Citation required`<br />
* Piano `Citation required`<br />
* Wi-fi `Citation required`<br />
* Electric supply assessment. `Citation required`<br />
* Stairs. Lifts & access `Citation required`<br />
* PA - and sound engineer `Citation required`<br />
* Mixer `Citation required`<br />
* Projector `Citation required`<br />
* PAT testing status. `Citation required`<br />
* Catering and refreshments `Citation required`<br />
* Room tone, sound proofing, noise bleed<br />
<br />
<br />
== Booking ==<br />
<br />
* Booking calendar, yes/ no add link<br />
* More info? citation required<br />
* Contact name not known, tel number 01248 371777 & extension nos.<br />
<br />
<br />
== Parking, and local transport issues ==<br />
<br />
`Citation required`<br />
<br />
<br />
== Terms & Conditions ==<br />
<br />
\* Fees if known, deposit requirements. `Citation required`<br />
<br />
== External Links ==<br />
<br />
Club db Facebook page [https://www.facebook.com/clubdbbangor/ click here]<br />
<br />
Club db webpage, word press site, currently void and not in use [http://www.club-db.com/ click here]<br />
<br />
<br />
== Notes for: free improvisers in music ==<br />
<br />
This venue is used by Ed Wright and the project OscilloScope<br />
<br />
== Link to the forum, an external link ==<br />
<br />
Yes: Club db is listed in the forum, [http://www.improvisersnetwork.co.uk/forum/viewtopic.php?f=285&t=987 External link ]<br />
<br />
<br />
<br />
== Recent use ==<br />
<br />
This venue is used by Ed Wright and the project OscilloScope<br />
<br />
[[Category: Venues Wales]]</div>Adminlocalhost/wiki/index.php/The_Greenhouse_Ty_Gwydr_(Venues_UK_Wales)The Greenhouse Ty Gwydr (Venues UK Wales)2020-01-04T17:15:32Z<p>Admin: </p>
<hr />
<div>The Greenhouse Ty Gwydr<br />
<br />
== Location ==<br />
<br />
Ty Gwydr | Greenhouse<br />
1 Trevelyan Terrace<br />
High Street<br />
Bangor<br />
Gwynedd<br />
LL57 1AX<br />
<br />
01248 355821<br />
Booking:<br />
bookings@tygwydr.com<br />
General Enquiries:<br />
post@tygwydr.com<br />
<br />
[[File:Greenhouse_p1010117.jpg]]<br />
<br />
<br />
== Event Space ==<br />
<br />
''Our largest rental space, this room is accessible via Greenhouse Reception or via a private access point from the main street, making it fully self-contained. It comes with a disabled access toilet and a large kitchen area, so is perfect for a variety of different meetings and events.''<br />
<br />
[http://tygg.co.uk/room-hire/event-space/ Event space webapge]<br />
<br />
Booking form available on the event space webpage<br />
Features:<br />
Access via Greenhouse Reception or via private on-street entrance,<br />
4.5m x 5.5m main space,<br />
Disabled access toilet,<br />
Kitchen space with kettle, cutlery and tea & coffee making facilities<br />
Seating, tables and presentation equipment available,<br />
Free WiFi,<br />
The Event Space (Ground Floor) is bookable per session:Morning Session, 9am to 1pm @ £ 27<br />
Afternoon Session, 1pm to 5pm @ £ 27 - Evening Session, 5pm to 9pm @ £ 27<br />
<br />
<br />
== Recent use ==<br />
<br />
Improvisers' networks Wales Jigsaw series 1-7 & Ed Wrights OscilloScope<br />
<br />
First upload : --[[User:Phil Morton|Phil Morton]] ([[User talk:Phil Morton|talk]]) 08:15, 25 September 2017 (BST)<br />
<br />
Further citation required and to follow<br />
<br />
[[Category: Venues Wales ]] [[Category: Venues Wales Gwynedd]]</div>Adminlocalhost/wiki/index.php/Talk:MAC_Music_Room_1_(Venues_:_UK_:_Birmingham)Talk:MAC Music Room 1 (Venues : UK : Birmingham)2020-01-04T17:11:22Z<p>Admin: Created page with "{{Template_talk:Talk:Version1}}"</p>
<hr />
<div>{{Template_talk:Talk:Version1}}</div>Adminlocalhost/wiki/index.php/Club_db_BangorClub db Bangor2020-01-04T17:10:06Z<p>Admin: </p>
<hr />
<div>'''This is a legacy item: This venue has closed down.<br />
'''<br />
== Basic contact details and links ==<br />
<br />
A live music venue in Bangor Gwynedd, Wales<br />
<br />
Club db<br />
318 High St, <br />
Bangor LL57 1YA<br />
Gwynedd Wales<br />
<br />
01248 371777<br />
<br />
Monday, Closed<br />
<br />
Tuesday Closed<br />
<br />
Wednesday, Closed<br />
<br />
Thursday, Closed<br />
<br />
Friday 8pm–1:30am<br />
<br />
Saturday 8pm–1:30am<br />
<br />
Sunday Closed<br />
<br />
<br />
<br />
[[File:Club_db.jpg]]<br />
<br />
<br />
<br />
<br />
<br />
== Facilities available ==<br />
* Room description `Citation required`<br />
* Piano `Citation required`<br />
* Wi-fi `Citation required`<br />
* Electric supply assessment. `Citation required`<br />
* Stairs. Lifts & access `Citation required`<br />
* PA - and sound engineer `Citation required`<br />
* Mixer `Citation required`<br />
* Projector `Citation required`<br />
* PAT testing status. `Citation required`<br />
* Catering and refreshments `Citation required`<br />
* Room tone, sound proofing, noise bleed<br />
<br />
<br />
== Booking ==<br />
<br />
* Booking calendar, yes/ no add link<br />
* More info? citation required<br />
* Contact name not known, tel number 01248 371777 & extension nos.<br />
<br />
<br />
== Parking, and local transport issues ==<br />
<br />
`Citation required`<br />
<br />
<br />
== Terms & Conditions ==<br />
<br />
\* Fees if known, deposit requirements. `Citation required`<br />
<br />
== External Links ==<br />
<br />
Club db Facebook page [https://www.facebook.com/clubdbbangor/ click here]<br />
<br />
Club db webpage, word press site, currently void and not in use [http://www.club-db.com/ click here]<br />
<br />
<br />
== Notes for: free improvisers in music ==<br />
<br />
This venue is used by Ed Wright and the project OscilloScope<br />
<br />
== Link to the forum, an external link ==<br />
<br />
Yes: Club db is listed in the forum, [http://www.improvisersnetwork.co.uk/forum/viewtopic.php?f=285&t=987 External link ]<br />
<br />
<br />
<br />
== Recent use ==<br />
<br />
This venue is used by Ed Wright and the project OscilloScope<br />
<br />
[[Category:Wales Venues]]</div>Adminlocalhost/wiki/index.php/Talk:Club_db_BangorTalk:Club db Bangor2020-01-04T17:07:42Z<p>Admin: Created page with "{{Template_talk:Talk:Version1}}"</p>
<hr />
<div>{{Template_talk:Talk:Version1}}</div>Adminlocalhost/wiki/index.php/Template_talk:Talk:Version1Template talk:Talk:Version12020-01-04T17:05:18Z<p>Admin: Created page with "{| class="wikitable" |This is the talk/discussion page for discussing improvements to this article. This is not a forum for general discussion of the article's subject. |} {..."</p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. <br />
<br />
Please sign and date your posts by typing four tildes in normal brackets. <br />
<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}</div>Adminlocalhost/wiki/index.php/Template:Talk:Version1Template:Talk:Version12020-01-04T17:04:36Z<p>Admin: Created page with "Refer to the talk tab - this is a template page"</p>
<hr />
<div>Refer to the talk tab - this is a template page</div>Adminlocalhost/wiki/index.php/Talk:Relational_Functions_(mind_map)Talk:Relational Functions (mind map)2020-01-04T16:58:21Z<p>Admin: /* No original research */ new section</p>
<hr />
<div>{{ Talk:Frakture }}<br />
<br />
== No original research ==<br />
<br />
Phil Morton (admin) is not sure what this means ([[User:Admin|Admin]] ([[User talk:Admin|talk]]) 16:58, 4 January 2020 (GMT))</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:57:27Z<p>Admin: </p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. <br />
<br />
Please sign and date your posts by typing four tildes in normal brackets. <br />
<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:55:31Z<p>Admin: </p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. [https://www.improvisersnetworks.online/wiki/index.php?title=Talk:Frakture&action=edit&section=new Click here to start a new topic.]<br />
<br />
Please sign and date your posts by typing four tildes in normal brackets. <br />
<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:53:02Z<p>Admin: /* No original research */ new section</p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. [https://www.improvisersnetworks.online/wiki/index.php?title=Talk:Frakture&action=edit&section=new Click here to start a new topic.]<br />
<br />
Please sign and date your posts by typing four tildes in normal brackets. <br />
<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}<br />
<br />
== No original research ==<br />
<br />
Mt Morton (Admin) is not sure what this means. ([[User:Admin|Admin]] ([[User talk:Admin|talk]]) 16:53, 4 January 2020 (GMT))</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:51:37Z<p>Admin: </p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. [https://www.improvisersnetworks.online/wiki/index.php?title=Talk:Frakture&action=edit&section=new Click here to start a new topic.]<br />
<br />
Please sign and date your posts by typing four tildes in normal brackets. <br />
<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:33:28Z<p>Admin: </p>
<hr />
<div>{| class="wikitable"<br />
|This is the talk/discussion page for discussing improvements to this article. <br />
This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
{| class="wikitable"<br />
<br />
|<br />
Put new text under old text. [https://www.improvisersnetworks.online/wiki/index.php?title=Talk:Frakture&action=edit&section=new Click here to start a new topic.]<br />
<br />
Please sign and date your posts by typing four tildes ( [[User:Admin|Admin]] ([[User talk:Admin|talk]]) 16:33, 4 January 2020 (GMT) ).<br />
<br />
|<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
|<br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. <br />
The policies presented are simply a `copy and paste` from the wikipedia site. <br />
This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability<br />
<br />
|}</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:17:34Z<p>Admin: </p>
<hr />
<div>{|<br />
|This is the talk/discussion page for discussing improvements to this article.<br />
|This is not a forum for general discussion of the article's subject.<br />
|}<br />
<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. The policies presented are simply a `copy and paste` from the wikipedia site. This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability</div>Adminlocalhost/wiki/index.php/Talk:Relational_Functions_(mind_map)Talk:Relational Functions (mind map)2020-01-04T16:06:10Z<p>Admin: Created page with "{{ Talk:Frakture }}"</p>
<hr />
<div>{{ Talk:Frakture }}</div>Adminlocalhost/wiki/index.php/Talk:FraktureTalk:Frakture2020-01-04T16:02:34Z<p>Admin: Created page with "This is the talk/discussion page for discussing improvements to this article. This is not a forum for general discussion of the article's subject. == Be aware, part 1== *Be..."</p>
<hr />
<div>This is the talk/discussion page for discussing improvements to this article.<br />
This is not a forum for general discussion of the article's subject.<br />
<br />
== Be aware, part 1==<br />
<br />
*Be polite, and welcoming to new users<br />
*Assume good faith<br />
*Avoid personal attacks<br />
*For disputes, seek dispute resolution - citation required. <br />
<br />
== Be aware, article policies ==<br />
<br />
This is the starting point for this project. The policies presented are simply a `copy and paste` from the wikipedia site. This site may evolve different policies over time.<br />
<br />
*No original research<br />
*Neutral point of view<br />
*Verifiability</div>Adminlocalhost/wiki/index.php/Talk:Focal_-_Attentive_listeningTalk:Focal - Attentive listening2019-11-22T14:43:30Z<p>Admin: Created page with "''This entry is supported by the improvisers' networking online discussion board'''. You can discuss the definition, the theory, at the discussion board. This is the link to..."</p>
<hr />
<div>''This entry is supported by the improvisers' networking online discussion board'''. You can discuss the definition, the theory, at the discussion board.<br />
<br />
This is the link to the topic `Focal (linear, sequential, directed) - Oliveros ` in the forum. [https://www.improvisersnetworks.online/forum/viewforum.php?f=719&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
<br />
Alternatively enter this topic ticket number T1400 in the discussion board search box<br />
<br />
This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]</div>Adminlocalhost/wiki/index.php/Category:Attentive_ListeningCategory:Attentive Listening2019-11-22T14:33:41Z<p>Admin: </p>
<hr />
<div>'''Atentive listening and free improvisation'''<br />
<br />
It is rather obvious that free ensemble improvisation demands “an intense concentration on the music” and “an intense listening to the whole” (point 1), since there is nothing else to adopt as a base for the interaction between the musicians, that is to say, the ensemble improvisation, than their listening to one another. Notes, conductors and stylistic models are no longer present, and the only thing left to musically relate to is what is actually sounding and how it is sounding. (source quoted & discussed in Free Ensemble Improvisation, Harald Stenström,[http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] )<br />
<br />
`Nunn gets the last word on the importance of listening for free improvisation. “It was stated that free improvisation is not made, it is allowed to make itself, and this comes from active listening”. (Nunn 1998: 87)`</div>Adminlocalhost/wiki/index.php/Category:Attentive_ListeningCategory:Attentive Listening2019-11-22T14:33:18Z<p>Admin: Created page with "'''Atentive listening and free improvisation''' It is rather obvious that free ensemble improvisation demands “an intense concentration on the music” and “an intense li..."</p>
<hr />
<div>'''Atentive listening and free improvisation'''<br />
<br />
It is rather obvious that free ensemble improvisation demands “an intense concentration on the music” and “an intense listening to the whole” (point 1), since there is nothing else to adopt as a base for the interaction between the musicians, that is to say, the ensemble improvisation, than their listening to one another. Notes, conductors and stylistic models are no longer present, and the only thing left to musically relate to is what is actually sounding and how it is sounding. (source quoted & discussed in Free Ensemble Improvisation, Harald Stenström,[http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] )<br />
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*`Nunn gets the last word on the importance of listening for free improvisation. “It was stated that free improvisation is not made, it is allowed to make itself, and this comes from active listening”. (Nunn 1998: 87)`</div>Adminlocalhost/wiki/index.php/Global_-_Attentive_ListeningGlobal - Attentive Listening2019-11-22T14:31:03Z<p>Admin: Created page with "In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for bo..."</p>
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<div>In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for both musicians and non-musicians”. 6 (Briggs 1986: 5)<br />
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''Global (diffuse, non-linear)''<br />
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'''source''': quoted & discussed in Free Ensemble Improvisation, Harald Stenström,[http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] <br />
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This is the link to the topic `Global Attentive Listening ` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=720&t=1401&p=1803&sid=f80d93bf18b9188715f2150b83b17a1c#p1803]<br />
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This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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[[Category:Attentive Listening]]</div>Adminlocalhost/wiki/index.php/Focal_-_Attentive_listeningFocal - Attentive listening2019-11-22T14:23:15Z<p>Admin: Created page with "In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for bo..."</p>
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<div>In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for both musicians and non-musicians”. 6 (Briggs 1986: 5)<br />
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''Focal (linear, sequential, directed)'' <br />
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'''source:''' quoted & discussed in Free Ensemble Improvisation, Harald Stenström, [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] <br />
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'''This entry is supported by the improvisers' networking online discussion board'''. You can discuss the definition, the theory, at the discussion board.<br />
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This is the link to the topic `Focal (linear, sequential, directed) - Oliveros ` in the forum. [https://www.improvisersnetworks.online/forum/viewforum.php?f=719&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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Alternatively enter this topic ticket number T1400 in the discussion board search box<br />
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This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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[[Category:Attentive Listening]]</div>Adminlocalhost/wiki/index.php/Listening-in-search_-_Attentive_listeningListening-in-search - Attentive listening2019-11-22T14:15:08Z<p>Admin: Created page with "'''Listening-in-search''' Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listenin..."</p>
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<div>'''Listening-in-search'''<br />
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Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listening-in-readiness, and background listening”. 5 (pp. 79–80)<br />
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''Listening-in-search means that “one scans the acoustic soundscape for particular sounds, attempting to extract or create meaning from their production or the environ-ment’s response to the sounds produced”. Listening-in-search “is the active and openly receptive stance advocated by most practicing free improvisers and committed fans of the music”. (p. 80)<br />
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'''source:''' Borgo quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] <br />
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This is the link to the topic `Listening-in-search - Attentive listening` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=718&t=1399&p=1801&sid=f80d93bf18b9188715f2150b83b17a1c#p1801]<br />
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This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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[[Category:Attentive Listening]]</div>Adminlocalhost/wiki/index.php/Listening_in_readiness_-_Attentive_listeningListening in readiness - Attentive listening2019-11-22T14:07:17Z<p>Admin: </p>
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<div>'''Listening-in-readiness <br />
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Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listening-in-readiness, and background listening”. 5 (pp. 79–80)<br />
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''"Listening in readiness implies for Truax a “state of attention to receive “significant” audio information and familiar sounds-associations built up over time that may be readily identified”. (p. 80)''<br />
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'''Source''': Borgo quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]<br />
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'''This entry is supported by the improvisers' networking online discussion board.''' You can discuss the definition, the theory, at the discussion board.<br />
<br />
This is the link to the topic `Listening in readiness - Attentive listening` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=717&t=1398&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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Alternatively enter this topic ticket number T1398 in the discussion board search box<br />
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This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]<br />
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[[Category:Attentive Listening]]</div>Admin