Improvisers' Networks Online Mediawiki - User contributions [en]

System 50:50 for improvisers

2023-04-14T08:30:47Z

Phil Morton: /* The Pandemic */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== Set list designs - the gift that just keeps on giving ==

citation to follow

* The basic design
* Rotation - citation to follow
* Reversal
* Reversal - split groups
* Size of the ensemble
** Four, Eight, Sixteen, Twenty four - citation to follow
* Duration - citation to follow
* Number of players.
* Errors
* Vandalism
* Half the sky - citation to follow
* Ensemble sound mass
* A series of pieces that make up a collection

== The Pandemic and the zoom revolution==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:28:03Z

Phil Morton: /* Set list designs - the gift that just keeps on giving */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== Set list designs - the gift that just keeps on giving ==

citation to follow

* The basic design
* Rotation - citation to follow
* Reversal
* Reversal - split groups
* Size of the ensemble
** Four, Eight, Sixteen, Twenty four - citation to follow
* Duration - citation to follow
* Number of players.
* Errors
* Vandalism
* Half the sky - citation to follow
* Ensemble sound mass
* A series of pieces that make up a collection

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:24:53Z

Phil Morton: /* Set list designs - the gift that just keeps on giving */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== Set list designs - the gift that just keeps on giving ==

citation to follow

* The basic design
* Rotation - citation to follow
* Reversal
* Reversal - split groups
* Size of the ensemble
** Four, Eight, Sixteen, Twenty four - citation to follow
* Duration - citation to follow
* Number of players.
* Errors
* Vandalism

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:23:38Z

Phil Morton: /* Set list designs - the gift that just keeps on giving */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== Set list designs - the gift that just keeps on giving ==

citation to follow

* The basic design
* Rotation - citation to follow
* Reversal
* Reversal - split groups
* Size of the ensemble
** Four, Eight, Sixteen, Twenty four - citation to follow
* Duration - citation to follow
* Number of players.
*

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:17:57Z

Phil Morton:

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== Set list designs - the gift that just keeps on giving ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:16:16Z

Phil Morton:

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction This page starts here ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:11:56Z

Phil Morton: /* Centrifuge,Preston and the great leap forwards 2016 */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

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.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty improvisers / musicians to be present. The best he could get.
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:05:11Z

Phil Morton:

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

add image of egg timer

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

add image of the adapted chess clock

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T08:01:32Z

Phil Morton:

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

== Philosophy, claims and revolutions ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:58:51Z

Phil Morton: /* In the workshop & ensemble study */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & the ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:56:46Z

Phil Morton: /* Projects */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & ensemble study ==

citation to follow

== Projects ==

citation to follow

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:56:25Z

Phil Morton: /* External web pages & Social media links */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

citation to follow

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:56:10Z

Phil Morton: /* Ensemble sound mass and density */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

citation to follow

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:55:51Z

Phil Morton: /* Examples of ensembles and groups */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

citation to follow

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:55:25Z

Phil Morton: /* Centrifuge,Preston and the great leap forwards 2016 */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was. More on that later.

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.
The place and space for this was UCLan University Preston - more citation to follow'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:52:32Z

Phil Morton: /* Centrifuge and the great leap forwards 2016 */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge,Preston and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:51:57Z

Phil Morton: /* Groups */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Examples of ensembles and groups ==

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:50:38Z

Phil Morton: /* Workshop & projects activity */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Groups ==

== In the workshop & ensemble study ==

citation to follow

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:49:30Z

Phil Morton: /* Discography */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

citation to follow

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:49:02Z

Phil Morton: /* The Pandemic */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

citation to follow

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:48:46Z

Phil Morton: /* Early interest in `free improvisation` */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Initial feedback and responses ==

citation to follow

== The Pandemic ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:47:39Z

Phil Morton: /* Project management and funding */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Early interest in `free improvisation` ==

== The Pandemic ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Ensemble sound mass and density ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:46:58Z

Phil Morton: /* Frakture years */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Early interest in `free improvisation` ==

== The Pandemic ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:46:31Z

Phil Morton: /* Centrifuge and the great leap forwards 2016 */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert called Centrifuge
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Early interest in `free improvisation` ==

== Frakture years ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:45:56Z

Phil Morton: /* Early years */

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Break through ==

citation to follow

== Early interest in `free improvisation` ==

== Frakture years ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:44:45Z

Phil Morton:

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the introduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwards 2016 ==

Phillip Morton private thoughts were that: the management of tacet/free play using a timing device (egg timers) was a unique,powerful idea that would be rewarding if he stuck at it and improved the delivery.

The idea (or composition framework) was strong the delivery method was week.
How to move forwards? how to use research to bring an upgrade to the delivery method.
His response was cathartic!

* Book a venue (very expensive) for a public concert
* Arrange for up to twenty musicians to be present
* Plan this event 3 months in advance
* Find the solution because you have to - this is pressure.

Sometimes, necessity is the mother of invention, it was

'

== Early years ==

== Early interest in `free improvisation` ==

== Frakture years ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: System 50:50]]

System 50:50 for improvisers

2023-04-14T07:30:54Z

Phil Morton: Created page with "'''Use this template to create a new page then updating the page with content''' * To use this template > go to edit > select all text and copy * Create the new wiki page lis..."

'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years - how it started. ==

Two situations can be identified as the (possible) origins of System 50:50 for improvisers

*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, though one solution is that the fourteen musicians 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. Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation, how? 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 contribution and the inroduction of silence/tacet regulates a sound mass that is not too cluttered. This is simple utilitarian explanation of the origins of System 50:50 for improvisers.
*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 land 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. More on this later

== What happened next ==

Between 2008 and 2016 this concept remained dormant .
The egg timer did not work in ensemble situations, or did not catch on. It appeared to be rejected by the workshop participants.
The egg timer had low usage in Phillip Morton's personal practice.

== Centrifuge and the great leap forwads'''Use this template to create a new page then updating the page with content'''

* To use this template > go to edit > select all text and copy
* Create the new wiki page listing then paste this template text into the new page
* Add content
*
* The text below is a copy and paste from a page called "template venues"
* 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.
* There are guidleines at this google drive document: [https://docs.google.com/document/d/1XBo6mOY1sSAhLxJGSYOJmtWTVMYmv0nHDJTH3YWbmNw/edit?usp=sharing URL link title]
* When in edit mode, refer to footer of this wiki page "Editing help"
* Help with formatting : mediawiki [https://www.mediawiki.org/wiki/Help:Formatting URL LINK]
* 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
* Delete this section when updating is complete

'''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.

== Introduction ==

add text

[[File:imagename.jpg|200px|none |thumb|left|alt text]]

== Early years ==

== Early interest in `free improvisation` ==

== Frakture years ==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: Template UK Improviser personal page]]
==

== Discography ==

== Groups ==

== Workshop & projects activity ==

== Projects ==

== Project management and funding ==

== External web pages & Social media links ==

[[Category: Template UK Improviser personal page]]

Referent

2022-12-06T10:41:45Z

Phil Morton:

'''Referent'''

== Introduction ==
[[Phil Morton]] has come to adopt the term used referential or a referent, or he proposes those active in [[free]] [[improvisation]] acknowledge this term maybe useful

Referential simply means the improviser/musician is required to refer to an external referent, that maybe a document or idea that influences what the person does within the parameters of music.

Thus free improvisation, free ensemble improvisation should delivered without the presence of an external referent.

This is an attempt by Phil Morton to bypass the binary world of [[free]] [[improvisation]] vs composition

== Source ==

Free Ensemble Improvisation, Harald Stenström A Thesis [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

== Related topics ==

* [[Agency]]
* [[Free]]

Phil Morton (Musician)

2022-10-30T12:16:23Z

Phil Morton: /* Discography */

'''Phil Morton''' (born 1954, in Liverpool) is a musician who has worked mainly in the field of free improvisation since the 1992. He has been active consistently during that time as a promoter of concerts of freely improvised music in Liverpool and the north, providing hundreds of playing opportunities for both local and international musicians.

== Introduction ==

[[File:Philmorton_258.jpg|200px|none |thumb|left|Phil Morton photo Mark Jones]]

== Early years ==

== Early interest in `free improvisation` ==

Phil Morton's first contact with what is known as `free improvisation` was [https://en.wikipedia.org/wiki/Charles_Fox_(jazz_critic) Charles Fox] `jazz today` programme [https://en.wikipedia.org/wiki/BBC_Radio_3 BBC Radio 3]. On hearing the sounds and music of, Barry Guy, Paul Rutherford and Derek Bailey his response at the age of 13 was: they are doing that deliberately to annoy me. It was not a pleasurable sound, but interesting. He is still interested. He would buy the magazine `Musics` at the radical bookshop `News from nowhere`. He speculates his first `improv gig` was Alterations featuring Steve Beresford, Peter Cusack, David Toop and Terry Day and attended the workshop too.

In the mid-sixties, in the low `teens` years PM attended a [https://en.wikipedia.org/wiki/Sun_Ra Sun Ra Arkestra] concert at Liverpool University. The Arkestra went through their complete repertoire, PM speculates this was a tight band, well rehearsed and at the height of its power. It was an epiphany. Forty years later this specific gig was given a whole page in the Wire magazine. During this period he also witnessed The Scratch orchestra, John Tilbury playing John Cage, Cornelious Cardew ( false memory?)

In the late seventies, he formed and rehearsed a quartet that played only five notes from the twelve-note scale or list. Originally a steal from `the gamelan system` the notes for each piece were in fact picked by single (rotating) member of the band using the following criteria; guesswork, random, prior knowledge. This is an early example of his habit of applying `constriction` to open up the music. PM played double bass in this group.

In the 1980's in Liverpool PM contributed to the management and delivery of `Liberty Hall` a social club for non-aligned socialists, anarchists, and feminists initiated by Bob Dent of `News From Nowhere`. Liberty hall presented: talks, films, theatre groups, live music, washed down with beer and a disco. PM assissted in all areas of activity. He presented: [https://en.wikipedia.org/wiki/Lol_Coxhill Lol Coxhill], [https://en.wikipedia.org/wiki/Feminist_Improvising_Group The Feminist Improvisation Group], [https://en.wikipedia.org/wiki/Mike_Westbrook Mike Westbrook Brass Band]. This was a viable and profitable project.

1992 - citation required - met Phil Hargreaves and suggested they work on an opera called `Australia has no dead heart`, opera was a fashionable idea at the time. There was no opera, but PM/PH rehearsed for FIVE YEARS (citation required) then recorded click, launched Frakture, and the rest is history

== Frakture years ==

Frakture 1997 - 2014 initially conceived as a `music club` or space developed into a creative arts Organisation nay a `creative industry` .

'''The numbers''': up to 500 sessions between 1997 - 2014. 49 Centrifuge events, 49 Blank Canvas events, 117 Frakture events, 13 Frakass events, 55 Concerts in `a festival format`, 38 `Splash gigs`, 124 workshops. Important: PM did not do these events alone.

More citation required,

== Discography ==

*Click - Bonehouse, with Phil Hargreaves - [https://philhargreaves.bandcamp.com/album/click Bandcamp link]
*Cracked - Bonehouse with Phil Lucking - [https://nervetech.bandcamp.com/album/cracked Bandcamp link]
*Swung Dash - by Swung Dash
*Frakture Big Band, live at the Cornerstone
*Frakture Big Band, double CD - `Angel of the Ressurection` and `Birds of America`
* Soundcloud - Phil Morton audio player, a culling of pieces [https://soundcloud.com/phil-morton-audio-player Soundcloud link]

== Groups ==

Groups, that had an on-going status at the time and not just a `one night stand`.

* Bonehouse
* Swung Dash
* The Frakture Big Band
* Instant Expansion
* Pecha Kucha

PM is currently Feb 2018 rehearsing,

* Hedge, with Andy Hodges
* System 5050 ensembles.

Not many really. Apologies if I omitted important examples.

== Guitar Style ==

* Extended techniques. Non-tuned guitar string arrangement, guitar as a percussion object, plectrum substitutes. Guitar as object to attack surfaces.
* Prepared guitar techniques used include: Third bridges, socks, twine/string, files, massage rollers, metal chains, found objects, crocadile clips, knitting needles & other string inserts, ebow, Plus contact microphone events. Prepared plectrums and Plectrum subsritues, eg rock, slates, found objects, egg slicer. Bow (double bass)
* Timbral and chordal.
* Dual pick up arrangement, that is the conventional `guitar pickup` and a `contact pick up` inserted under the bridge, plus the acoustic sound of the guitar delivering three outputs that are mixed in real time.

== Guitar Set up ==

* Make: Framus, `f` hole acoustic arch top body guitar with pick ups, This was bought in 1972 for £16.00.
* Two pick ups. with two out-puts to a mixer. One conventional guitar pickup supplied when made plus additional contact pickup added by the owner located under the bridge.
* Live performance, there are two line outs from the guitar that are sent to a mixer.
* [https://en.wikipedia.org/wiki/Lexicon_JamMan Lexicon Jamman sampler ]. is employed and deployed via the mixer. The only jamman processor to be used and used. Phil Morton does not use `guitar effects` or have a guitar effects board.
* Current amplifier (2019) : [https://www.roland.com/uk/products/ac-60/ Roland AC-60 acoustic guitar amplifyer].

== Accidents & Treatments ==

PM tag for listing and event copy is Phil Morton, accidents and treatments, He declines to use the word guitar. This witticism or irritation for some started in 1998 when Phil Hargreaves listed PM as `Phil Morton guitar and treatments` on the cover of the CD Click. Mr Morton liked this, he changed this to `accidents and treatments` as his performance either moves away from the guitar or changes the nature of the guitar so that the word guitar becomes irrelevant. The guitar is not always present, for example he had a phase (3-10 years) of playing the double bass, the content of some performance are dominated by objects (musical and not so). The upside of this is the tag line is that it brings consistency and simplicity to every listing.

== Workshop & activity ==

Phil Morton experience in the design and delivery of workshop session dealing with creative processes and the act of listening is substantial, this has been achieved through his own work and through the experience of being in the shadow of the giants of the genre(s) such as: Maggie Nicols, Pauline Oliverous, Phil Minton, Eddie Prevost, John Hull and through the deep conversations held with all the improvisers who played at Frakture and at sometime sat his kitchen table.

PM has attended `Advanced Workshop Leadership` courses and a one year NVQ3 Arts project management course.

Snap out of it programme: workshops aimed at `unlearning mechanical ways of making music` (Maggie Nicols)
Click - Jigsaw programmes, heuristic sessions (influenced by Eddie Prevost) were the artists perform then reflect and share their thinking about the experience.
Soundwalks and sonic gaze: personal development through the act of listening, draw & spell that sound.

PM has delivered 13 voice workshops and on rare occasions PM has led dance sessions.

== Workshop styles ==

* Snap out of it - breaking habits, influenced by John Steven's Search and reflect
* System 50:50 - [https://www.improvisersnetworks.online/resources/music-systems/system-50-50 Link-introduction to system 50:50]
* Click: Talk and play - simply play for 6 minutes then talk about what happened, influenced by Eddie Prevost session's and the Centrifuge, developing an aesthetic project
* Acoustic ecology; sessions designed to explore the act of listening.
* Developing an aesthetic are whole day events for free improvisers active on the concert circuit of the UK. [http://www.improvisersnetworks.online/uk/uk-miscellaneous-the-culling/centrifuge/item/58-centrifuge-developing-an-aesthetic more info here]

== Workshop exercises ==

Details to follow, a sample of exercises Phil Morton uses, exercises develop within his watch, are to be found on the improvisers networks online > [https://www.improvisersnetworks.online/resources/workshops/workshop-exercises-and-design Link-workshops exercises section]

== Projects commissioned by third parties ==

* The Liverpool Biennial, Sonic Gaze 2005
* Liverpool Hope University - Sound relay project 2004
* The Long Walk, Liverpool, for More Music 2007
* Invited speaker: Sound Practice, The 1st UKISC Conference on sound, culture and environments in 2001 at Dartington
* Invited speaker, Matrix, Sheffield Hallam University, citation required.
* Invited speaker, UCLan University, citation required, on improvisation.
* 1 Article published in `Noise gate`.
* The Dancing Games with Cheshire Dance.
* BBC Broadcast - Radio Four, `The Listeners`

== Project management and funding ==

PM has been involved in over 50 successful funding bids that have generated over £100k for the free improvisation in the music sector. he did not do this alone.

PM worked in a `cooperative business` for twelve years. Some people may say `collective`.

Scale: Mainly micro events, plus festivals through to an International Festival, and a 15 session project for `young people` to experience the elements of acoustic ecology. PM speculates the later had a budget of over £10k and the weekend festival he knows had a budget of £5k plus.

'''The numbers''': over 700 sessions since 1997.

* 22 soundwalks
* 49 Centrifuge events
* 49 Blank Canvas events
* 117 Frakture events
* 13 voice workshops, vocal play
* 13 Frakass events
* 55 Concerts in `a festival format`
* 22 [https://en.wikipedia.org/wiki/Sun_Ra Jigsaw workshops (Preston)]
* 38 `Splash gigs`
* 124 workshops.
* 89 `Listening Room sessions` delivered with the help of Roger Parry.

Important: PM did not do these events alone.

'''Partnerships''': The Bluecoat (2000 - 2014), Hope at Everton (Citation required), UCLan Preston (current)

== External web pages & Social media links ==

* Soundcloud - [https://soundcloud.com/phil-morton-audio-player audio tracks]

[[Category:UK Improviser Musician ]]

Phil Morton (Musician)

2022-10-30T12:11:50Z

Phil Morton: /* Discography */

'''Phil Morton''' (born 1954, in Liverpool) is a musician who has worked mainly in the field of free improvisation since the 1992. He has been active consistently during that time as a promoter of concerts of freely improvised music in Liverpool and the north, providing hundreds of playing opportunities for both local and international musicians.

== Introduction ==

[[File:Philmorton_258.jpg|200px|none |thumb|left|Phil Morton photo Mark Jones]]

== Early years ==

== Early interest in `free improvisation` ==

Phil Morton's first contact with what is known as `free improvisation` was [https://en.wikipedia.org/wiki/Charles_Fox_(jazz_critic) Charles Fox] `jazz today` programme [https://en.wikipedia.org/wiki/BBC_Radio_3 BBC Radio 3]. On hearing the sounds and music of, Barry Guy, Paul Rutherford and Derek Bailey his response at the age of 13 was: they are doing that deliberately to annoy me. It was not a pleasurable sound, but interesting. He is still interested. He would buy the magazine `Musics` at the radical bookshop `News from nowhere`. He speculates his first `improv gig` was Alterations featuring Steve Beresford, Peter Cusack, David Toop and Terry Day and attended the workshop too.

In the mid-sixties, in the low `teens` years PM attended a [https://en.wikipedia.org/wiki/Sun_Ra Sun Ra Arkestra] concert at Liverpool University. The Arkestra went through their complete repertoire, PM speculates this was a tight band, well rehearsed and at the height of its power. It was an epiphany. Forty years later this specific gig was given a whole page in the Wire magazine. During this period he also witnessed The Scratch orchestra, John Tilbury playing John Cage, Cornelious Cardew ( false memory?)

In the late seventies, he formed and rehearsed a quartet that played only five notes from the twelve-note scale or list. Originally a steal from `the gamelan system` the notes for each piece were in fact picked by single (rotating) member of the band using the following criteria; guesswork, random, prior knowledge. This is an early example of his habit of applying `constriction` to open up the music. PM played double bass in this group.

In the 1980's in Liverpool PM contributed to the management and delivery of `Liberty Hall` a social club for non-aligned socialists, anarchists, and feminists initiated by Bob Dent of `News From Nowhere`. Liberty hall presented: talks, films, theatre groups, live music, washed down with beer and a disco. PM assissted in all areas of activity. He presented: [https://en.wikipedia.org/wiki/Lol_Coxhill Lol Coxhill], [https://en.wikipedia.org/wiki/Feminist_Improvising_Group The Feminist Improvisation Group], [https://en.wikipedia.org/wiki/Mike_Westbrook Mike Westbrook Brass Band]. This was a viable and profitable project.

1992 - citation required - met Phil Hargreaves and suggested they work on an opera called `Australia has no dead heart`, opera was a fashionable idea at the time. There was no opera, but PM/PH rehearsed for FIVE YEARS (citation required) then recorded click, launched Frakture, and the rest is history

== Frakture years ==

Frakture 1997 - 2014 initially conceived as a `music club` or space developed into a creative arts Organisation nay a `creative industry` .

'''The numbers''': up to 500 sessions between 1997 - 2014. 49 Centrifuge events, 49 Blank Canvas events, 117 Frakture events, 13 Frakass events, 55 Concerts in `a festival format`, 38 `Splash gigs`, 124 workshops. Important: PM did not do these events alone.

More citation required,

== Discography ==

*Click - Bonehouse, with Phil Hargreaves - [https://philhargreaves.bandcamp.com/album/click Bandcamp link]
*Cracked - Bonehouse with Phil Lucking - [https://nervetech.bandcamp.com/album/cracked Bandcamp link]
*Swung Dash - by Swung Dash
*Frakture Big Band, live at the Cornerstone
*Frakture Big Band, double CD - `Angel of the Ressurection` and `Birds of America`

== Groups ==

Groups, that had an on-going status at the time and not just a `one night stand`.

* Bonehouse
* Swung Dash
* The Frakture Big Band
* Instant Expansion
* Pecha Kucha

PM is currently Feb 2018 rehearsing,

* Hedge, with Andy Hodges
* System 5050 ensembles.

Not many really. Apologies if I omitted important examples.

== Guitar Style ==

* Extended techniques. Non-tuned guitar string arrangement, guitar as a percussion object, plectrum substitutes. Guitar as object to attack surfaces.
* Prepared guitar techniques used include: Third bridges, socks, twine/string, files, massage rollers, metal chains, found objects, crocadile clips, knitting needles & other string inserts, ebow, Plus contact microphone events. Prepared plectrums and Plectrum subsritues, eg rock, slates, found objects, egg slicer. Bow (double bass)
* Timbral and chordal.
* Dual pick up arrangement, that is the conventional `guitar pickup` and a `contact pick up` inserted under the bridge, plus the acoustic sound of the guitar delivering three outputs that are mixed in real time.

== Guitar Set up ==

* Make: Framus, `f` hole acoustic arch top body guitar with pick ups, This was bought in 1972 for £16.00.
* Two pick ups. with two out-puts to a mixer. One conventional guitar pickup supplied when made plus additional contact pickup added by the owner located under the bridge.
* Live performance, there are two line outs from the guitar that are sent to a mixer.
* [https://en.wikipedia.org/wiki/Lexicon_JamMan Lexicon Jamman sampler ]. is employed and deployed via the mixer. The only jamman processor to be used and used. Phil Morton does not use `guitar effects` or have a guitar effects board.
* Current amplifier (2019) : [https://www.roland.com/uk/products/ac-60/ Roland AC-60 acoustic guitar amplifyer].

== Accidents & Treatments ==

PM tag for listing and event copy is Phil Morton, accidents and treatments, He declines to use the word guitar. This witticism or irritation for some started in 1998 when Phil Hargreaves listed PM as `Phil Morton guitar and treatments` on the cover of the CD Click. Mr Morton liked this, he changed this to `accidents and treatments` as his performance either moves away from the guitar or changes the nature of the guitar so that the word guitar becomes irrelevant. The guitar is not always present, for example he had a phase (3-10 years) of playing the double bass, the content of some performance are dominated by objects (musical and not so). The upside of this is the tag line is that it brings consistency and simplicity to every listing.

== Workshop & activity ==

Phil Morton experience in the design and delivery of workshop session dealing with creative processes and the act of listening is substantial, this has been achieved through his own work and through the experience of being in the shadow of the giants of the genre(s) such as: Maggie Nicols, Pauline Oliverous, Phil Minton, Eddie Prevost, John Hull and through the deep conversations held with all the improvisers who played at Frakture and at sometime sat his kitchen table.

PM has attended `Advanced Workshop Leadership` courses and a one year NVQ3 Arts project management course.

Snap out of it programme: workshops aimed at `unlearning mechanical ways of making music` (Maggie Nicols)
Click - Jigsaw programmes, heuristic sessions (influenced by Eddie Prevost) were the artists perform then reflect and share their thinking about the experience.
Soundwalks and sonic gaze: personal development through the act of listening, draw & spell that sound.

PM has delivered 13 voice workshops and on rare occasions PM has led dance sessions.

== Workshop styles ==

* Snap out of it - breaking habits, influenced by John Steven's Search and reflect
* System 50:50 - [https://www.improvisersnetworks.online/resources/music-systems/system-50-50 Link-introduction to system 50:50]
* Click: Talk and play - simply play for 6 minutes then talk about what happened, influenced by Eddie Prevost session's and the Centrifuge, developing an aesthetic project
* Acoustic ecology; sessions designed to explore the act of listening.
* Developing an aesthetic are whole day events for free improvisers active on the concert circuit of the UK. [http://www.improvisersnetworks.online/uk/uk-miscellaneous-the-culling/centrifuge/item/58-centrifuge-developing-an-aesthetic more info here]

== Workshop exercises ==

Details to follow, a sample of exercises Phil Morton uses, exercises develop within his watch, are to be found on the improvisers networks online > [https://www.improvisersnetworks.online/resources/workshops/workshop-exercises-and-design Link-workshops exercises section]

== Projects commissioned by third parties ==

* The Liverpool Biennial, Sonic Gaze 2005
* Liverpool Hope University - Sound relay project 2004
* The Long Walk, Liverpool, for More Music 2007
* Invited speaker: Sound Practice, The 1st UKISC Conference on sound, culture and environments in 2001 at Dartington
* Invited speaker, Matrix, Sheffield Hallam University, citation required.
* Invited speaker, UCLan University, citation required, on improvisation.
* 1 Article published in `Noise gate`.
* The Dancing Games with Cheshire Dance.
* BBC Broadcast - Radio Four, `The Listeners`

== Project management and funding ==

PM has been involved in over 50 successful funding bids that have generated over £100k for the free improvisation in the music sector. he did not do this alone.

PM worked in a `cooperative business` for twelve years. Some people may say `collective`.

Scale: Mainly micro events, plus festivals through to an International Festival, and a 15 session project for `young people` to experience the elements of acoustic ecology. PM speculates the later had a budget of over £10k and the weekend festival he knows had a budget of £5k plus.

'''The numbers''': over 700 sessions since 1997.

* 22 soundwalks
* 49 Centrifuge events
* 49 Blank Canvas events
* 117 Frakture events
* 13 voice workshops, vocal play
* 13 Frakass events
* 55 Concerts in `a festival format`
* 22 [https://en.wikipedia.org/wiki/Sun_Ra Jigsaw workshops (Preston)]
* 38 `Splash gigs`
* 124 workshops.
* 89 `Listening Room sessions` delivered with the help of Roger Parry.

Important: PM did not do these events alone.

'''Partnerships''': The Bluecoat (2000 - 2014), Hope at Everton (Citation required), UCLan Preston (current)

== External web pages & Social media links ==

* Soundcloud - [https://soundcloud.com/phil-morton-audio-player audio tracks]

[[Category:UK Improviser Musician ]]

Phil Morton (Musician)

2022-10-30T12:07:45Z

Phil Morton:

'''Phil Morton''' (born 1954, in Liverpool) is a musician who has worked mainly in the field of free improvisation since the 1992. He has been active consistently during that time as a promoter of concerts of freely improvised music in Liverpool and the north, providing hundreds of playing opportunities for both local and international musicians.

== Introduction ==

[[File:Philmorton_258.jpg|200px|none |thumb|left|Phil Morton photo Mark Jones]]

== Early years ==

== Early interest in `free improvisation` ==

Phil Morton's first contact with what is known as `free improvisation` was [https://en.wikipedia.org/wiki/Charles_Fox_(jazz_critic) Charles Fox] `jazz today` programme [https://en.wikipedia.org/wiki/BBC_Radio_3 BBC Radio 3]. On hearing the sounds and music of, Barry Guy, Paul Rutherford and Derek Bailey his response at the age of 13 was: they are doing that deliberately to annoy me. It was not a pleasurable sound, but interesting. He is still interested. He would buy the magazine `Musics` at the radical bookshop `News from nowhere`. He speculates his first `improv gig` was Alterations featuring Steve Beresford, Peter Cusack, David Toop and Terry Day and attended the workshop too.

In the mid-sixties, in the low `teens` years PM attended a [https://en.wikipedia.org/wiki/Sun_Ra Sun Ra Arkestra] concert at Liverpool University. The Arkestra went through their complete repertoire, PM speculates this was a tight band, well rehearsed and at the height of its power. It was an epiphany. Forty years later this specific gig was given a whole page in the Wire magazine. During this period he also witnessed The Scratch orchestra, John Tilbury playing John Cage, Cornelious Cardew ( false memory?)

In the late seventies, he formed and rehearsed a quartet that played only five notes from the twelve-note scale or list. Originally a steal from `the gamelan system` the notes for each piece were in fact picked by single (rotating) member of the band using the following criteria; guesswork, random, prior knowledge. This is an early example of his habit of applying `constriction` to open up the music. PM played double bass in this group.

In the 1980's in Liverpool PM contributed to the management and delivery of `Liberty Hall` a social club for non-aligned socialists, anarchists, and feminists initiated by Bob Dent of `News From Nowhere`. Liberty hall presented: talks, films, theatre groups, live music, washed down with beer and a disco. PM assissted in all areas of activity. He presented: [https://en.wikipedia.org/wiki/Lol_Coxhill Lol Coxhill], [https://en.wikipedia.org/wiki/Feminist_Improvising_Group The Feminist Improvisation Group], [https://en.wikipedia.org/wiki/Mike_Westbrook Mike Westbrook Brass Band]. This was a viable and profitable project.

1992 - citation required - met Phil Hargreaves and suggested they work on an opera called `Australia has no dead heart`, opera was a fashionable idea at the time. There was no opera, but PM/PH rehearsed for FIVE YEARS (citation required) then recorded click, launched Frakture, and the rest is history

== Frakture years ==

Frakture 1997 - 2014 initially conceived as a `music club` or space developed into a creative arts Organisation nay a `creative industry` .

'''The numbers''': up to 500 sessions between 1997 - 2014. 49 Centrifuge events, 49 Blank Canvas events, 117 Frakture events, 13 Frakass events, 55 Concerts in `a festival format`, 38 `Splash gigs`, 124 workshops. Important: PM did not do these events alone.

More citation required,

== Discography ==

*Click - Bonehouse, with Phil Hargreaves
*Cracked - Bonehouse with Phil Lucking - [https://nervetech.bandcamp.com/album/cracked Bandcamp link]
*Swung Dash - by Swung Dash
*Frakture Big Band, live at the Cornerstone
*Frakture Big Band, double CD - `Angel of the Ressurection` and `Birds of America`

== Groups ==

Groups, that had an on-going status at the time and not just a `one night stand`.

* Bonehouse
* Swung Dash
* The Frakture Big Band
* Instant Expansion
* Pecha Kucha

PM is currently Feb 2018 rehearsing,

* Hedge, with Andy Hodges
* System 5050 ensembles.

Not many really. Apologies if I omitted important examples.

== Guitar Style ==

* Extended techniques. Non-tuned guitar string arrangement, guitar as a percussion object, plectrum substitutes. Guitar as object to attack surfaces.
* Prepared guitar techniques used include: Third bridges, socks, twine/string, files, massage rollers, metal chains, found objects, crocadile clips, knitting needles & other string inserts, ebow, Plus contact microphone events. Prepared plectrums and Plectrum subsritues, eg rock, slates, found objects, egg slicer. Bow (double bass)
* Timbral and chordal.
* Dual pick up arrangement, that is the conventional `guitar pickup` and a `contact pick up` inserted under the bridge, plus the acoustic sound of the guitar delivering three outputs that are mixed in real time.

== Guitar Set up ==

* Make: Framus, `f` hole acoustic arch top body guitar with pick ups, This was bought in 1972 for £16.00.
* Two pick ups. with two out-puts to a mixer. One conventional guitar pickup supplied when made plus additional contact pickup added by the owner located under the bridge.
* Live performance, there are two line outs from the guitar that are sent to a mixer.
* [https://en.wikipedia.org/wiki/Lexicon_JamMan Lexicon Jamman sampler ]. is employed and deployed via the mixer. The only jamman processor to be used and used. Phil Morton does not use `guitar effects` or have a guitar effects board.
* Current amplifier (2019) : [https://www.roland.com/uk/products/ac-60/ Roland AC-60 acoustic guitar amplifyer].

== Accidents & Treatments ==

PM tag for listing and event copy is Phil Morton, accidents and treatments, He declines to use the word guitar. This witticism or irritation for some started in 1998 when Phil Hargreaves listed PM as `Phil Morton guitar and treatments` on the cover of the CD Click. Mr Morton liked this, he changed this to `accidents and treatments` as his performance either moves away from the guitar or changes the nature of the guitar so that the word guitar becomes irrelevant. The guitar is not always present, for example he had a phase (3-10 years) of playing the double bass, the content of some performance are dominated by objects (musical and not so). The upside of this is the tag line is that it brings consistency and simplicity to every listing.

== Workshop & activity ==

Phil Morton experience in the design and delivery of workshop session dealing with creative processes and the act of listening is substantial, this has been achieved through his own work and through the experience of being in the shadow of the giants of the genre(s) such as: Maggie Nicols, Pauline Oliverous, Phil Minton, Eddie Prevost, John Hull and through the deep conversations held with all the improvisers who played at Frakture and at sometime sat his kitchen table.

PM has attended `Advanced Workshop Leadership` courses and a one year NVQ3 Arts project management course.

Snap out of it programme: workshops aimed at `unlearning mechanical ways of making music` (Maggie Nicols)
Click - Jigsaw programmes, heuristic sessions (influenced by Eddie Prevost) were the artists perform then reflect and share their thinking about the experience.
Soundwalks and sonic gaze: personal development through the act of listening, draw & spell that sound.

PM has delivered 13 voice workshops and on rare occasions PM has led dance sessions.

== Workshop styles ==

* Snap out of it - breaking habits, influenced by John Steven's Search and reflect
* System 50:50 - [https://www.improvisersnetworks.online/resources/music-systems/system-50-50 Link-introduction to system 50:50]
* Click: Talk and play - simply play for 6 minutes then talk about what happened, influenced by Eddie Prevost session's and the Centrifuge, developing an aesthetic project
* Acoustic ecology; sessions designed to explore the act of listening.
* Developing an aesthetic are whole day events for free improvisers active on the concert circuit of the UK. [http://www.improvisersnetworks.online/uk/uk-miscellaneous-the-culling/centrifuge/item/58-centrifuge-developing-an-aesthetic more info here]

== Workshop exercises ==

Details to follow, a sample of exercises Phil Morton uses, exercises develop within his watch, are to be found on the improvisers networks online > [https://www.improvisersnetworks.online/resources/workshops/workshop-exercises-and-design Link-workshops exercises section]

== Projects commissioned by third parties ==

* The Liverpool Biennial, Sonic Gaze 2005
* Liverpool Hope University - Sound relay project 2004
* The Long Walk, Liverpool, for More Music 2007
* Invited speaker: Sound Practice, The 1st UKISC Conference on sound, culture and environments in 2001 at Dartington
* Invited speaker, Matrix, Sheffield Hallam University, citation required.
* Invited speaker, UCLan University, citation required, on improvisation.
* 1 Article published in `Noise gate`.
* The Dancing Games with Cheshire Dance.
* BBC Broadcast - Radio Four, `The Listeners`

== Project management and funding ==

PM has been involved in over 50 successful funding bids that have generated over £100k for the free improvisation in the music sector. he did not do this alone.

PM worked in a `cooperative business` for twelve years. Some people may say `collective`.

Scale: Mainly micro events, plus festivals through to an International Festival, and a 15 session project for `young people` to experience the elements of acoustic ecology. PM speculates the later had a budget of over £10k and the weekend festival he knows had a budget of £5k plus.

'''The numbers''': over 700 sessions since 1997.

* 22 soundwalks
* 49 Centrifuge events
* 49 Blank Canvas events
* 117 Frakture events
* 13 voice workshops, vocal play
* 13 Frakass events
* 55 Concerts in `a festival format`
* 22 [https://en.wikipedia.org/wiki/Sun_Ra Jigsaw workshops (Preston)]
* 38 `Splash gigs`
* 124 workshops.
* 89 `Listening Room sessions` delivered with the help of Roger Parry.

Important: PM did not do these events alone.

'''Partnerships''': The Bluecoat (2000 - 2014), Hope at Everton (Citation required), UCLan Preston (current)

== External web pages & Social media links ==

* Soundcloud - [https://soundcloud.com/phil-morton-audio-player audio tracks]

[[Category:UK Improviser Musician ]]

Main Page

2022-10-11T08:48:58Z

Phil Morton: added upload without an account

<strong>Welcome.</strong>

This is a support tool for the improvisers' networks web site
It is it is a dictionary, a glossary of terms used by improvisers, a lexicon.
The application used to delivery this `wiki - dictionary` is [https://www.mediawiki.org/wiki/MediaWiki MediaWiki]

== Create an account ==

To upload new content, edit existing pages you have to have register and create an account .
To register and create an account for this wiki-resource, you need to complete the main website registration form
[http://www.improvisersnetworks.online/register registration form link]
this form handles in one place the registration for; the website, the discussion forum & this wiki-resource.
Complete the form ticking the box for this mediawiki - wiki-resource..

== To upload content without an account ==

*If you wish to upload and share content without an account send your entry to info@improvisersnetwork.co.uk

== To upload content with an account ==
*First you need an account, refer to the create an account section above
*You may need a`little knowledge` of how `media wiki` pages work.
*If you wish to upload and share content but there are technical obstacles contact info@improvisersnetwork.co.uk

== Terms and conditions ==

The terms and conditions for this Improvisers' Networks Mediawiki are the same as for Wikipedia.
unless stated. Links to the terms and conditions are to follow.

English, is the language used throughout this `wiki-dictionary`

Policy specific to this wiki-dictionary: a request to not duplicate entries in wikipedia, for example if the promoter / club `Mopomoso` has an entry in wikipedia, it is requested not to duplicate, replicate the full text a mopomoso content page would have in this wiki-dictionary, but upload a Mopomoso page to this wiki - dictionary and just add a link to the wikipedia, Mopomoso entry therin. To view an example type mopomoso into this mediawiki search box.

== Check out the category listings ==
Follow this link to view the categories list, this acts like an index and may assist you in finding pages relevant to you and your interests

[http://www.improvisersnetworks.online/wiki/index.php?title=Special:Categories Improvisers' Networks Wiki Index of categories ]

More on this policy suggestion and other policies are to follow.

Phil Morton : September 2017

__FORCETOC__

Free

2022-10-11T08:46:20Z

Phil Morton: added TOS

The word `Free` has many meanings. Our understanding of the word free maybe shaped by the context it appears. Here we can investigate it's meaning within the phrase `free improvisation` .

Here are some definitions and sources.

---------

'''free = liberated from social, historical, psychological and musical constraints'''

Source, The free jazz collective

web link: [http://www.freejazzblog.org/]

---------

'''Freeness: to be exempt or released from something that controls, restrains or burdens.
'''

Source

weblink: [https://www.bbc.co.uk/programmes/m000b075 Freeness BBC radio 3]

Corey Mwamba presents the best new jazz and improvised music with an adventurous spirit.

-------

'''Source of the quotes below: As quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 115''' url link 1 [http://improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] link 2 [https://gupea.ub.gu.se/handle/2077/20293]

What is presented in this section, is about the term and the experience of `free improvisation` not quite the same as the use of the word `free` as a separate word.

<blockquote>* Free improvisation has no predetermined musical variables as its starting points. (Sohlman Dictionary of Music [Sohlmans musiklexikon (Sohlman)]: Improvisation [Improvisation]) </blockquote>

<blockquote>*Bailey finds it difficult to define free improvisation since it has a tendency to “slide off into some more readily identifiable area, jazz or comedy or into very obvious forms”. (Bailey 1993: 115) </blockquote>

<blockquote>* It is almost impossible to classify free improvisation “based on the amount of free improvisation allowed in each group”, because “the field is too large and the modes of improvisation too wide-ranging”. (Benitez 1986: 457) </blockquote>

<blockquote>* A typical definition of freely improvised music is that: “free music is what is played when players do not consciously reinforce musical idioms or existing compositions”. (Berndt 1996: 1) </blockquote>

<blockquote>* Free improvisation is “usually performed collectively between two or more players”, where “conception and realization are fused into one action or process”, and where there is “no storage of conceptual or thematic information to be drawn upon”. Free improvisation takes place “in the here and now without resorting to support systems of symbols to be translated”. (Gaudinsky 1982: 37) </blockquote>

<blockquote>* Free improvisation is a collective process, and it does not connect itself to common conventions and predetermined frameworks. (Lutz 1999: 2) </blockquote>

<blockquote>* Free improvisation is self-organizing patterns. (Nachmanovitch 1990: 33) </blockquote>

<blockquote>* Tuominen (1998) feels that the definition of free improvisation cannot be found in the sounding result but lies instead in the artistic method, the idea of which is that the music is created wholly in the now. (p. 9) Everything can be used as tools for creating music in the now, and one can decide to use any sound or technique at any moment. (p. 10) </blockquote>

<blockquote>* In free improvisation, the music is discovered and invented spontaneously, “while performing it, without preconceived formulation, scoring, or content”. (Solomon 1986: 226) </blockquote>

<blockquote>* Free improvisation follows “no preconceived or agreed-upon formal structure, although techniques of developing ideas in such a free context may be similar to those found in written-out compositions”. (Wallace White 1999: 21–22) </blockquote>

<blockquote>* Free improvisation is, according to Nunn (1998), among other things, “multiple, spontaneous processes of creating music in real time” as a direct response to the music itself. (p 35) Free improvisation is “essentially self-generating”. (p 37) </blockquote>

'''Source of the above quotes: As quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 115''' url link 1 [http://improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] link 2 [https://gupea.ub.gu.se/handle/2077/20293]

== Related ==

* [[Agency]]
* [[Referent]]
* Free will [https://en.wikipedia.org/wiki/Free_will at Wikipedia]
* The tyranny of structurelessness [https://en.wikipedia.org/wiki/The_Tyranny_of_Structurelessness at Wikipedia]

Free

2022-10-11T08:22:34Z

Phil Morton:

Free

2022-10-11T08:21:47Z

Phil Morton:

Free

2022-10-11T08:15:32Z

Phil Morton:

Referent

2022-10-11T08:12:58Z

Phil Morton:

'''Referent'''

== Introduction ==
[[Phil Morton]] has come to adopt the term used referential or a referent, or he proposes those active in [[free]] [[improvisation]] acknowledge this term maybe useful

Referential simply means the improviser is required to refer to an external referent, that maybe a document or idea that influences what the person does within the parameters of music.

This is an attempt by Phil Morton to bypass the binary world of [[free]] [[improvisation]] vs composition

== Source ==

Free Ensemble Improvisation, Harald Stenström A Thesis [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

== Related topics ==

* [[Agency]]
* [[Free]]

Referent

2022-10-11T07:47:23Z

Phil Morton:

'''Referent'''

== Introduction ==

[[Phil Morton]] has come to adopt the term used referential or a referent, or he proposes those active in [[free]] [[improvisation]] acknowledge this term maybe useful

Referential simply means the improviser is required to refer to an external referent, that maybe a document or idea that influences what the person does within the parameters of music.

This is an attempt by Phil Morton to bypass the binary world of [[free]] [[improvisation]] vs composition

Examples of a referent to be witnessed in the world of free improvisation

*Conduction
*Graphic scores
*more citation needed

== Source ==

Free Ensemble Improvisation, Harald Stenström A Thesis [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

== Related ==

* [[free]]
* [[Agency]]

Referent

2022-10-11T07:46:45Z

Phil Morton:

'''Referent'''

== Introduction ==
[[Phil Morton]] has come to adopt the term used referential or a referent, or he proposes those active in [[free]] [[improvisation]] acknowledge this term maybe useful

Referential simply means the improviser is required to refer to an external referent, that maybe a document or idea that influences what the person does within the parameters of music.

This is an attempt by Phil Morton to bypass the binary world of [[free]] [[improvisation]] vs composition

Examples of a referent to be witnessed in the world of free improvisation

*Conduction
*Graphic scores
*more citation needed

== Source ==

Free Ensemble Improvisation, Harald Stenström A Thesis [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

== Related ==

* [[free]]
* [[Agency]]

Referent

2022-10-11T07:31:59Z

Phil Morton: Created page with " '''Referent''' == Introduction == Phil Morton has come to adopt the term used referential or a referent, or he proposes those active in free improvisation ackn..."

'''Referent'''

== Introduction ==
[[Phil Morton]] has come to adopt the term used referential or a referent, or he proposes those active in [[free]] [[improvisation]] acknowledge this term maybe useful

Referential simply means the improviser is required to refer to an external referent, that maybe a document or idea that influences what the person does within the parameters of music.

This is an attempt by Phil Morton to bypass the binary world of [[free]] [[improvisation]] vs composition

== Source ==

Free Ensemble Improvisation, Harald Stenström A Thesis [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

Audiation

2020-04-19T12:33:00Z

Phil Morton:

This term, Audiation has been covered by the website Wikipedia as part of "Gordon music learning theory" `audiation` or to audiate do not at present have their own entries in Wikipedia

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

Audiation is a term Gordon coined in 1975 to refer to comprehension and internal realization of music, or the sensation of an individual hearing or feeling sound when it is not physically present.[5] Musicians previously used terms such as aural perception or aural imagery to describe this concept, though aural imagery would imply a notational component while audiation does not necessarily do so.[6] Gordon suggests that "audiation is to music what thought is to language."[7] His research is based on similarities between how individuals learn a language and how they learn to make and understand music.[8] Gordon specifies that audiation potential is an element of music aptitude, arguing that to demonstrate music aptitude one must use audiation.[9]

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Gordon_music_learning_theory Gordon_music_learning_theory]

__FORCETOC__

List of free improvising musicians and groups

Talk:Audiation

2020-04-19T12:03:49Z

Phil Morton: Created page with "{{Template_talk:Talk:Version1}}"

Audiation

2020-04-19T12:03:20Z

Phil Morton: Created page with "This term, Audiation has been covered by the website Wikipedia as part of "Gordon music learning theory" it does not at present have its own enetry This mediawiki site, a `wi..."

This term, Audiation has been covered by the website Wikipedia as part of "Gordon music learning theory" it does not at present have its own enetry

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

Audiation is a term Gordon coined in 1975 to refer to comprehension and internal realization of music, or the sensation of an individual hearing or feeling sound when it is not physically present.[5] Musicians previously used terms such as aural perception or aural imagery to describe this concept, though aural imagery would imply a notational component while audiation does not necessarily do so.[6] Gordon suggests that "audiation is to music what thought is to language."[7] His research is based on similarities between how individuals learn a language and how they learn to make and understand music.[8] Gordon specifies that audiation potential is an element of music aptitude, arguing that to demonstrate music aptitude one must use audiation.[9]

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Gordon_music_learning_theory Gordon_music_learning_theory]

__FORCETOC__

List of free improvising musicians and groups

Telematic performance

2020-03-23T12:59:02Z

Phil Morton:

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

The term telematic performance refers to a live performance (art, dance, music, etc.) which makes use of [https://en.wikipedia.org/wiki/Telecommunication Telecommunications] and [https://en.wikipedia.org/wiki/Information_technology information technology] to distribute the performers between two or more locations.

While this may involve use of conventional [https://en.wikipedia.org/wiki/Videotelephony videoconferencing technology], it has more recently come to mean the use of internet technologies. Performance groups my also refer to their events as internet concerts, online jamming, or teleconcerts.

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]

== Performers and researchers work to overcome the following obstacles,:==

# This section is copied from wikipedia
#'''Audio latency''' : Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
#'''Echo cancellation''': Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
#'''Video latency''': Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
#'''Audio/video synchronization''': In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.

==See Also==

* [https://www.improvisersnetworks.online/resources/telematic-improvisations Telematic improvisations and file sharing at improvisers online website]

__FORCETOC__

[[Category:Telematic performance]]

Telematic performance

2020-03-23T12:55:04Z

Phil Morton: /* Performers and researchers work to overcome the following obstacles,: */

Telematic performance

2020-03-23T12:43:21Z

Phil Morton: /* Performers and researchers work to overcome the following obstacles: */

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

The term telematic performance refers to a live performance (art, dance, music, etc.) which makes use of [https://en.wikipedia.org/wiki/Telecommunication Telecommunications] and [https://en.wikipedia.org/wiki/Information_technology information technology] to distribute the performers between two or more locations.

While this may involve use of conventional [https://en.wikipedia.org/wiki/Videotelephony videoconferencing technology], it has more recently come to mean the use of internet technologies. Performance groups my also refer to their events as internet concerts, online jamming, or teleconcerts.

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]

== Performers and researchers work to overcome the following obstacles,:==

# This section is copied from wikipedia
#Audio latency: Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
#Echo cancellation: Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
#Video latency: Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
#Audio/video synchronization: In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.

__FORCETOC__

[[Category:Telematic performance]]

Telematic performance

2020-03-23T12:42:20Z

Phil Morton:

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Telematic_performance telematic performance]"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the content of that listing.
Below there is an introduction - a simple copy and paste. from Wikipedia then a link to the Wikipedia entry.

==Introduction, copied from Wikipedia==

The term telematic performance refers to a live performance (art, dance, music, etc.) which makes use of [https://en.wikipedia.org/wiki/Telecommunication Telecommunications] and [https://en.wikipedia.org/wiki/Information_technology information technology] to distribute the performers between two or more locations.

While this may involve use of conventional [https://en.wikipedia.org/wiki/Videotelephony videoconferencing technology], it has more recently come to mean the use of internet technologies. Performance groups my also refer to their events as internet concerts, online jamming, or teleconcerts.

==Link to the Wikipedia page==

[https://en.wikipedia.org/wiki/Telematic_performance Telematic performance Wikipedia Page]

== Performers and researchers work to overcome the following obstacles:==

#Audio latency: Most musicians who play in a group rely on audio cues to maintain tempo and other communication. The most obvious example is the use of a drummer in pop music to keep time. In a normal rehearsal or performance environment, there is a delay between the time one musician plays and another hears the sound due to the speed of sound in air. This is typically from 3 - 50ms. When audio is transmitted through a digital medium (i.e. the Internet), the delay (or latency) can be much longer. Cell phones have latency of approximately 50ms. Applications such as Skype have approximately 100ms. And, QuickTime and Windows Media server-based streaming systems add 8 or more seconds of latency. When the latency is too high, the audio cues are no longer effective. Researchers[2] have shown that some musicians can ignore this delay while others find it obtrusive. In general, the higher the audio quality and the more channels transmitted, the higher the latency needs to be to reliably transmit the audio stream.
#Echo cancellation: Since the latency between locations is much higher than the speed of sound, standard techniques to eliminate feedback from monitoring systems, such as [equalization], do not work. However, when the latency between locations is low enough, teleconferencing echo cancellation techniques can be used.
#Video latency: Musicians also rely on visual cues to maintain synchronization. The most obvious example is the use of a conductor with orchestral music. Due to the size of video data, latency tends to higher for video than audio latency.
#Audio/video synchronization: In order to maintain audio and video synchronization, audio may be delayed more than necessary. Some performers opt to sacrifice AV synchronization for lower audio latency. For example, those involved with improvised, musical telematic performances may require low latency audio cues.

__FORCETOC__

[[Category:Telematic performance]]

Category:Telematic performance

2020-03-23T09:21:09Z

Phil Morton:

An introduction copied from Wikipedia that is a short simple summary of `Telematic performance`

The term telematic performance refers to a live performance (art, dance, music, etc.) which makes use of [https://en.wikipedia.org/wiki/Telecommunication Telecommunications] and [https://en.wikipedia.org/wiki/Information_technology information technology] to distribute the performers between two or more locations.

While this may involve use of conventional [https://en.wikipedia.org/wiki/Videotelephony videoconferencing technology], it has more recently come to mean the use of internet technologies. Performance groups my also refer to their events as internet concerts, online jamming, or teleconcerts.

Further notes will follow to frame the concept of `Telematic Performance` within a practice known as `free improvisation`.

You can add content, [https://www.improvisersnetworks.online/register by registering with the site here: ]

Alternatively you can add content to this wiki-dictionary by completing this online form and adding `wiki-dictionary` in the notes. [https://www.improvisersnetworks.online/about/introduction-to-the-site/upload-your-article-to-the-site click this link to add content by a form ]

Category:Telematic performance

2020-03-23T09:16:26Z

Phil Morton: Created page with "An introduction copied from Wikipedia that is a short simple summary of `Telematic performance` The term telematic performance refers to a live performance (art, dance, musi..."

Talk:Telematic performance

2020-03-23T09:13:18Z

Phil Morton: Created page with "{{Template_talk:Talk:Version1}}"