Listening-in-search start here
Posted: Fri Nov 22, 2019 2:12 pm
Listening-in-search
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)
Plus
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.
*`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)`
topic ticket number T1399
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)
sources: Borgo quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 url linkListening-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)
Plus
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.
*`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)`
topic ticket number T1399