System 50:50 for improvisers - Revision history

Admin: /* Break through - a new device */

2023-11-13T09:32:47Z

‎Break through - a new device

2023-11-13T09:31:53Z

‎Early years - how it started.

2023-11-13T09:30:45Z

‎Early years - how it started.

2023-11-13T09:24:14Z

‎Early years - how it started.

2023-11-13T09:20:39Z

‎Early years - how it started.

2023-11-13T09:14:26Z

‎Early years - how it started.

2023-11-13T09:05:25Z

2023-11-09T20:36:10Z

‎Initial feedback and responses

2023-11-09T20:33:59Z

‎Initial feedback and responses

2023-11-09T20:33:18Z

‎Initial feedback and responses

← Older revision		Revision as of 09:32, 13 November 2023
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	The place and space for this was UCLan University Preston - more citation to follow'		The place and space for this was UCLan University Preston - more citation to follow'

−	== Break through - a new device ==	+	== Break through - a new device, third generation ==

@@ Line 25: / Line 25: @@
 First situation.
-Phil Morton's personal observation of the limits of collective practice grew resulted in the use of egg timers to restrict and dicipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.
+Phil Morton's personal observation of the limits of collective practice resulted in the use of egg timers to restrict and discipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.
 The limits of ensemble music making were the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of other individuals.

@@ Line 25: / Line 25: @@
 First situation.
-This solution to a collective practice grew from his experience of using egg timers in his own private practice, which he had introduced in 1998.
+Phil Morton's personal observation of the limits of collective practice grew resulted in the use of egg timers to restrict and dicipline his contributions to the ensemble sound.This practice started in 1998. It was a hunch, playful but not often employed.
-In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.
+The limits of ensemble music making were the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of other individuals.
 '''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION

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 In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.
-'''ADD AN IMAGED OF A SIMPLE EGG TIMER - FIRST GENERATION
+'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION
 '''
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-Here is an example of an adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.
+Here is an example of a second generation adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.
 [[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]

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 First situation.
 In a workshop environment 2008 Phil Morton was working with fourteen musicians on the topic of free improvisation in music. His observation was that small group exercises were good, but it reduced the active playing time for the participants. He thought that while the fourteen musicians could play together as an ensemble, in his judgement  the musicians did not have the shared skills or experience to play free improvised music as a large ensemble.
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 This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.
 Here is an example of an adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.

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 In 1998 Phil Morton started to use adapted egg timers as a personal aid. This was his response to the tendency for improvisers, including himself, to play too much. In free improvisation there is nothing to stop one playing except sensitivities and awareness, and the danger is one can be swept along by the excesses of others.
-add image of egg timer
+Here is an example of an adapted egg timer introduced around 2008. Prior to this date Phil Morton was using plain, small, eg timers.
-[[File:imagename.jpg|200px|none |thumb|left|alt text]]
+[[File:eggtimer_ballo_tacettop_crop2.png|200px|none|thumb||left]]
 == What happened next ==

← Older revision		Revision as of 09:05, 13 November 2023
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−	'''This is a draft document. ~~Please ignore~~. Please proceed to the section titles introduction.'''	+	'''This is a draft document. The first section is fr office use only. Notes for incubation. Please proceed to the section titles introduction.'''

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 Helon Conning believes she would not have said this, she would have not used democratic but the phrase `fair do's`.
 Phil Morton believes he heard her say it, and noted it because it was unusual, or he was surprised he had not listed this point of view as a plus point prior to her saying it. Ms Conning is happy for the phrase to stand. For PM this maybe a false memory. Later on Phil Morton would suggest egalitarian rather than democratic.
 == Set list designs - the gift that just keeps on giving ==

← Older revision		Revision as of 20:33, 9 November 2023
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−	It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"	+	Dan Goren Oxford Improvisers: It seems to me that any attempt to restrict what free improvisers play, presents a threat to the core nature of their music. Generally, 'To play or not play' is about as far as any predetermination can productively go, the player retaining (almost!) complete formal agency regarding when and what (s)he decides to play"

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 == Initial feedback and responses ==
-citation to follow
 == Set list designs - the gift that just keeps on giving ==