Dialogue - relational functions - Revision history

Phil Morton at 08:57, 4 January 2020

2020-01-04T08:57:07Z

Phil Morton: /* source */

2020-01-03T11:06:49Z

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Phil Morton at 11:06, 3 January 2020

2020-01-03T11:06:08Z

Admin: Created page with "'''Dialogue''' - Back-and-forth, immediate interaction between/among players (not always just two). More than two may be involved in Dialogue, but beyond three voices, the se..."

2019-11-21T13:56:09Z

Created page with "'''Dialogue''' - Back-and-forth, immediate interaction between/among players (not always just two). More than two may be involved in Dialogue, but beyond three voices, the se..."

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'''Dialogue''' - Back-and-forth, immediate interaction between/among players (not always just two).

More than two may be involved in Dialogue, but beyond three voices, the sense of interaction can easily shift toward an impression of Sound Mass. If several are participating, yet retaining a transparency, the effect is a contrapuntal texture. A part of the characteristic of Dialogue is a texture of voices sounding relatively short phrases in alternation, a call-and-response mode, termed in classical music antiphony. In free improvisation, however, the alternation of voices often overlaps in a very rapid exchange, and can even cloud the sense of Dialogue. Furthermore, a third voice can swiftly replace one of the voices in Dialogue and redirect it or establish a new Dialogue, or a new Composite. A particular kind of Dialogue that can sometimes be readily heard is imitation, where one improviser imitates certain aspects (rarely all aspects) of what another is playing. The imitation is usually relatively immediate and general in nature, often brief. The contour of a melodic phrase might be imitated, but not note-for-note. Or, only the rhythmic pattern of a figure or phrase might be imitated while the melodic contour is not. Imitation can also function on a larger, formal level of musical meaning. For example, an improviser might imitate the opening phrase of one section in a later section(s), or recall an Identity long after its natural demise. Likewise, a motivic Identity articulated by a player in one section might be imitated in some way by another player in another section. ( Note: This evidences the role of memory in free improvisation, which is not to be confused with memorization, something predetermined. )

source: Nunn (1998) Wisdom of The Impulse. On the Nature of Musical Free Improvisation. pdf part 1 page 26 of 50 url link 1 [http://improvisersnetworks.online/resources/books-and-documents/item/796-t-nunn-wisdom-of-the-impulse-on-the-nature-of-musical-free-improvisation]

source: Nunn (1998) quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 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]

This entry is supported by the improvisers' networking online discussion board. You can discuss the definition, the theory, at the discussion board.

This is the link to the topic `Dialogue - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=709&t=1391&sid=0d5881ad711742251b02c671fb792a67]

This is the topic ticket number T1391

This is the link to the forum, `Relational functions - (T Nunn) [https://www.improvisersnetworks.online/forum/viewforum.php?f=705&sid=f86a13154619f4df29c5ff84f4221b3c]

'''Share, exchange and collaborate'''

[[Category:Relational functions]]

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 More than two may be involved in Dialogue, but beyond three voices, the sense of interaction can easily shift toward an impression of Sound Mass. If several are participating, yet retaining a transparency, the effect is a contrapuntal texture. A part of the characteristic of Dialogue is a texture of voices sounding relatively short phrases in alternation, a call-and-response mode, termed in classical music antiphony. In free improvisation, however, the alternation of voices often overlaps in a very rapid exchange, and can even cloud the sense of Dialogue. Furthermore, a third voice can swiftly replace one of the voices in Dialogue and redirect it or establish a new Dialogue, or a new Composite. A particular kind of Dialogue that can sometimes be readily heard is imitation, where one improviser imitates certain aspects (rarely all aspects) of what another is playing. The imitation is usually relatively immediate and general in nature, often brief. The contour of a melodic phrase might be imitated, but not note-for-note. Or, only the rhythmic pattern of a figure or phrase might be imitated while the melodic contour is not. Imitation can also function on a larger, formal level of musical meaning. For example, an improviser might imitate the opening phrase of one section in a later section(s), or recall an Identity long after its natural demise. Likewise, a motivic Identity articulated by a player in one section might be imitated in some way by another player in another section. ( Note: This evidences the role of memory in free improvisation, which is not to be confused with memorization, something predetermined. )
-==source==
+==Source==
 *Nunn (1998) Wisdom of The Impulse. On the Nature of Musical Free Improvisation. pdf part 1 page 26 of 50 url link 1 [http://improvisersnetworks.online/resources/books-and-documents/item/796-t-nunn-wisdom-of-the-impulse-on-the-nature-of-musical-free-improvisation]
 *Nunn (1998) quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 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]
 ==To discuss this entry/topic further==

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 More than two may be involved in Dialogue, but beyond three voices, the sense of interaction can easily shift toward an impression of Sound Mass. If several are participating, yet retaining a transparency, the effect is a contrapuntal texture. A part of the characteristic of Dialogue is a texture of voices sounding relatively short phrases in alternation, a call-and-response mode, termed in classical music antiphony. In free improvisation, however, the alternation of voices often overlaps in a very rapid exchange, and can even cloud the sense of Dialogue. Furthermore, a third voice can swiftly replace one of the voices in Dialogue and redirect it or establish a new Dialogue, or a new Composite. A particular kind of Dialogue that can sometimes be readily heard is imitation, where one improviser imitates certain aspects (rarely all aspects) of what another is playing. The imitation is usually relatively immediate and general in nature, often brief. The contour of a melodic phrase might be imitated, but not note-for-note. Or, only the rhythmic pattern of a figure or phrase might be imitated while the melodic contour is not. Imitation can also function on a larger, formal level of musical meaning. For example, an improviser might imitate the opening phrase of one section in a later section(s), or recall an Identity long after its natural demise. Likewise, a motivic Identity articulated by a player in one section might be imitated in some way by another player in another section. ( Note: This evidences the role of memory in free improvisation, which is not to be confused with memorization, something predetermined. )
 This entry is supported by the improvisers' networking online discussion board. You can discuss the definition, the theory, at the discussion board.
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 This is the link to the forum, `Relational functions - (T Nunn) [https://www.improvisersnetworks.online/forum/viewforum.php?f=705&sid=f86a13154619f4df29c5ff84f4221b3c]
 [[Category:Relational functions]]