Improvisers' Networks Online Mediawiki - New pages [en]

System 50:50 for improvisers

2023-04-14T07:30:54Z

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

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== 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

First situation.

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.

'''ADD AN IMAGE OF A SIMPLE EGG TIMER - FIRST GENERATION
'''

Second 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.

Phillip Morton's solution was to introduce adapted egg timers (more on this later) to support musicians in this situation. How does the egg timer offer a solution to the problem?

The egg timer introduced tacet/freeplay timing, so the musicians could manage their ensemble output, with sound and silence. The musicians retained agency over their sonic contributions while the introduction of obligatory periods of silence/tacet regulated the sound density so that it was not too cluttered.

This is the simple utilitarian explanation of the origins of System 50:50 for improvisers.

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]]

== 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 - a new device, third generation ==

[[File:mechanical_labelled_600_450px.jpg|200px|none|thumb||left]]
A physical Chess clock with two digital screens that are labelled. The suggested brand & model, Brand name: Leap Model: PQ99075
This is the object of choice for this project and ensembles. During the research phase, it is advised that the best practice policy is that participants use the same model and version of a chess clock.

== Initial feedback and responses ==

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"

System 50/50 works well - it’s a really good way to get a group to play effectively without egos , virtuosity , and shyness getting in the way. It is democratic, inclusive. coherent, leaderless, focused, there is room to think and time to listen, choices. It is less competitive more cooperative. Ends well
Simon Ross (Macclesfield), Blank Canvas Octet - Liverpool

`Sometimes in free improv it is just not working but we carry on in the hope it will get better, in system 50:50 if it (free improv) is not working one can select tacet and stop playing` Richard Harding, Liverpool 2018, in a session using System 50:50, in a trio context

It gives me permission to do nothing
A statement made by Jon Aveyard in Preston 2017 at UCLan during the Jigsaw open day - all day session

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.

Charlie Collins, improviser, Sheffield wrote on system 50:50 “Definitely something with LOADS of possibilities - the reaction in the car driving back was unbelievably positive - no one could remember playing in a large ensemble that was so "open". The openness allowed me to play quietly, which meant the dynamics were incredible for an improvising large ensemble.” -

== 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]]

Referent

2022-10-11T07:31:59Z

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]]

Lick

2020-05-01T12:21:23Z

Admin: Created page with "The word lick in American slang literally means “small amount.” It is a familiar term that was initially associated with jazz and blues and later to rock when artists star..."

The word lick in American slang literally means “small amount.” It is a familiar term that was initially associated with jazz and blues and later to rock when artists started playing with jazz influences. The definition of lick depends on the type of music: jazz and blues guitarists tend to talk about licks only during an improvisation. In this case, a lick is a small sequence of notes used in combination with others to improvise. A lick could also be a unit of measurement of a solo that can be divided into licks, even if it is an arbitrary process.

source
Pedagogical applications of cognitive research on musical improvisation (May 2015)
Michele Biasutti* Department of Philosophy, Sociology, Education and Applied Psychology, University of Padova, Padova, Italy

[https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00614/full source webpage, it is a footnote]

Audiation

2020-04-19T12:03:20Z

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]

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List of free improvising musicians and groups

Telematic performance

2020-03-23T09:11:26Z

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]

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[[Category:Telematic performance]]

Experimental music

2020-02-17T20:44:25Z

Admin: Created page with "This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Experimental_music Experimental music]" This mediawiki site, a `wiki dictionary` about..."

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Experimental_music Experimental music]"

This mediawiki site, a `wiki dictionary` about 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==

Experimental music is a general label for any music that pushes existing boundaries and genre definitions (Anon. & n.d.(c)). Experimental compositional practice is defined broadly by exploratory sensibilites radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music (Sun 2013). Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Artists may also approach a hybrid of disparate styles or incorporate unorthodox and unique elements (Anon. & n.d.(c)).

The practice became prominent in the mid-20th century, particularly in Europe and North America. John Cage was one of the earliest composers to use the term and one of experimental music's primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. In France, as early as 1953, Pierre Schaeffer had begun using the term musique expérimentale to describe compositional activities that incorporated tape music, musique concrète, and elektronische Musik. Also, in America, a quite distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of experimental musical instruments. Musique concrète (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid clichés, i.e. overt references to recognizable musical conventions or genres.

== Section at Experimental Music wikipedia page on `free improvised music` ==

Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid overt references to recognizable musical genres. The term is somewhat paradoxical, since it can be considered both as a technique (employed by any musician who wishes to disregard rigid genres and forms) and as a recognizable genre in its own right.

==Link to the Wikipedia page==
https://en.wikipedia.org/wiki/Experimental_music

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Critical Studies in Improvisation

2020-02-17T19:42:58Z

Admin: Created page with "Critical Studies in Improvisation/ Études critiques en improvisation is an open-access, peer-reviewed, electronic, academic journal on improvisation, community, and social pr..."

Critical Studies in Improvisation/ Études critiques en improvisation is an open-access, peer-reviewed, electronic, academic journal on improvisation, community, and social practice housed at the University of Guelph. The editorial and advisory boards are made up of leading international scholars spanning diverse disciplines.

==Introduction==

While improvisational music has historically been analyzed within specific musical disciplines, what distinguishes the research profiled in CSI/ECI is its emphasis on improvisation as a site for the analysis of social practice. We contend that improvisation demands shared responsibility for participation in community, an ability to negotiate differences, and a willingness to accept the challenges of risk and contingency. Yet improvisation is a contested term. Its cultural significance is in dispute both in the academy and in the broader public understanding. CSI/ECI seeks to reveal the complex structures of improvisational practices and to develop an enriched understanding of the social, political, and cultural functions those practices play.

We are particularly interested in historically and contextually specific articles that interrogate improvisation as a social and musical practice, and that assess how innovative performance practices play a role in developing new, socially responsive forms of community building across national, cultural, and artistic boundaries.

==External Links==
[https://www.criticalimprov.com/index.php/csieci/index web link]

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[[Category:Resources & Research ]]

Intuitive Music

2020-01-19T09:27:12Z

Phil Morton:

This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/Intuitive_music Intuitive Music]"

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==

Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers (Stockhausen 1989, 113–14). The concept was introduced in 1968 by the German composer Karlheinz Stockhausen (Stockhausen 1993; Bergstrøm-Nielsen 1997), with specific reference to the collections of text-notated compositions Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work Musik für ein Haus, developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from Aus den sieben Tagen (Iddon 2004, 91, 99; Misch and Bandur 2001, 478; Stockhausen 2009, 3).

Intuitive music may appear to be synonymous with free improvisation or with improvised playing within open composition forms, but the collectively intuitive aspect, the emancipation from known music genres and the meditative dimension are especially emphasized by Stockhausen: "I try to avoid the word improvisation because it always means there are certain rules: of style, of rhythm, of harmony, of melody, of the order of sections, and so on" (Stockhausen 1989, 113). Nevertheless, one critic finds that intuitive music is not in essence irrational, but that for Stockhausen intuition must become a controllable ability, and therefore is an instrument of the project of modernity: "the investigation and instrumentalization of the world by controlled procedures" (Kutschke 1999, 155).

At the 1968 Darmstadt composition seminar where the intuitive-music concept was central for the group composition Musik für ein Haus, Stockhausen himself emphasised that it has nothing to do with indeterminacy: "I do not want a spiritualistic seance—I want music! I do not mean anything mystical, but everything absolutely direct, from concrete experience. What I have in mind is not indeterminacy, but intuitive determinacy!" (Ritzel 1970, 15; translated by Richard Toop in Kurtz 1992, 164).

==Link to the Wikipedia page==
https://en.wikipedia.org/wiki/Intuitive_music

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WorldCat

2020-01-14T09:35:13Z

Phil Morton:

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

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==

WorldCat is a [https://en.wikipedia.org/wiki/Union_catalog union catalog] that itemizes the collections of 17,900 [https://en.wikipedia.org/wiki/Library libraries] in 123 countries and territories[4] that participate in the [https://en.wikipedia.org/wiki/Online_Computer_Library_Center Online Computer Library Center (OCLC)] global cooperative. It is operated by OCLC, Inc.[5] The subscribing member libraries collectively maintain WorldCat's database, the world's largest bibliographic database.[6] OCLC makes WorldCat itself available free to libraries, but the catalog is the foundation for other subscription OCLC services (such as resource sharing and collection management). WorldCat is used by the general public and by librarians for cataloging and research.

==Reason for including WorldCat in this improv wiki dictionary==

You can search this database for books on free improvisation. Some title maybe out of print, others published by academic publishers are very expensive.

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/WorldCat

== External links==

[https://www.worldcat.org/ WorldCat internet home page]

==See also: wikipedia links==

Copac
*[https://en.wikipedia.org/wiki/Copac Copac]
*[https://en.wikipedia.org/wiki/Faceted_Application_of_Subject_Terminology Faceted Application of Subject Terminology (FAST)]
*[https://en.wikipedia.org/wiki/Library_and_Archives_Canada Library and Archives Canada]
*[https://en.wikipedia.org/wiki/Open_Library Open Library]
*[https://en.wikipedia.org/wiki/Research_Libraries_UK Research Libraries UK]

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John Butcher (musician)

2020-01-09T09:44:28Z

Phil Morton:

This term has been covered by the website Wikipedia as "John Butcher"

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==

at jan 2020

John Butcher (born 1954 in Brighton, England) is an English tenor and soprano saxophone player who has lived in London since the late 1970s. He was originally a physicist.[1] He began playing at the University of Surrey where he was studying physics. He received his PhD in theoretical physics with his thesis published as Spin effects in the production and weak decay of heavy Quarks. After that he left academia to focus on music. He began by playing conventional jazz (he has spoken of his initial skepticism concerning free improvisation), but quickly converted to a freer approach. He has taken the concern with the manipulation of multiphonics (split tones and false notes) bequeathed by earlier improvisers such as Evan Parker in new directions: though his earlier albums could be busy at times, he has come increasingly to focus on creating rich, slowly changing strata of sounds (layers of hums, buzzes and brittle metallic noises). He has also experimented with the use of amplified saxophone and overdubbing (most notably on the solo album Invisible Ear). That said, he is also capable of playing quite lyrically: on soprano, especially, he will sometimes leaven a passage of abstraction with bursts of pennywhistle-like melody.

Butcher worked with Elton Dean, Chris Burn, and Jon Corbett at first. Later he formed a trio with guitarist John Russell and violinist Phil Durrant, which recorded three albums and also served as the nucleus of News from the Shed, a shorter-lived quintet with Paul Lovens and Radu Malfatti. Another key relationship has been with singer Phil Minton, which included Butcher's participation in mouthfull of ecstasy,[2] Minton's setting of texts from James Joyce's Finnegans Wake. More recently he has become centrally involved in the form of rarefied, minimalist improvisation that has been dubbed "electroacoustic improvisation" or "lowercase", most notably as a member of the pioneering Austrian group Polwechsel. Other playing partners have included John Edwards, Simon H. Fell, Gino Robair, Georg Gräwe, Gerry Hemingway, Akio Suzuki and Dylan van der Schyff. A recent, self-released album, Cavern with Nightlife, included a duet with no-input-mixing-board specialist Toshimaru Nakamura. Butcher's octet "John Butcher Group" debuted in 2008 at the Huddersfield Contemporary Music Festival.

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/John_Butcher_(musician)

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[[Category:UK Improviser Musician]]

Improvisation

2020-01-06T14:00:53Z

Phil Morton: minor forma change

This term has been covered by the website Wikipedia as "Improvisation"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate the complete 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==

Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found.

'''Improvisation''' in the [https://en.wikipedia.org/wiki/Performing_arts performing arts] is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; [https://en.wikipedia.org/wiki/Applied_improvisation see Applied improvisation.]

Improvisation also exists outside the arts. Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Improvised weapons are often used by guerrillas, insurgents and criminals.

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Improvisation

PhpBB (Internet Forum)

2020-01-06T10:35:37Z

Phil Morton: Created page with "This term has been covered by the website Wikipedia as "[https://en.wikipedia.org/wiki/PhpBB phpBB]" This mediawiki site, a `wiki dictionary` about the nature and practice of..."

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

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.

== Relevance to improvisers networks online ==

The `[https://www.improvisersnetworks.online/forum/index.php Discussion board and forums for improvisers]` is a `phpBB site.

==Introduction, copied from Wikipedia==

phpBB is an Internet forum package in the PHP scripting language. The name "phpBB" is an abbreviation of PHP Bulletin Board. Available under the GNU General Public License, phpBB is free and open-source.[2]

Features of phpBB include support for multiple database engines (PostgreSQL, SQLite, MySQL, Oracle Database, Microsoft SQL Server), flat message structure (as opposed to threaded), hierarchical subforums, topic split/merge/lock, user groups, multiple attachments per post, full-text search, plugins and various notification options (e-mail, Jabber instant messaging, ATOM feeds).[3]

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/PhpBB

Joomla

2020-01-06T10:18:14Z

Phil Morton: /* Notes on relevance */

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

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.

==Notes on relevance==
'''joomla''' is the content management system (CMS) that publishes the website [https://www.improvisersnetworks.online/ improvisersnetworks.online]

==Introduction, copied from Wikipedia==

Joomla is a free and open-source content management system (CMS) for publishing web content, developed by Open Source Matters, Inc. It is built on a model–view–controller web application framework that can be used independently of the CMS.

Joomla is written in PHP, uses object-oriented programming techniques (since version 1.5) and software design patterns, stores data in a MySQL, MS SQL (since version 2.5), or PostgreSQL (since version 3.0) database, and includes features such as page caching, RSS feeds, printable versions of pages, news flashes, blogs, search, and support for language internationalization.[4][5][6]

Over 8,000 free and commercial extensions are available from the official Joomla Extensions Directory, and more are available from other sources.[7] As of 2019, it was estimated to be the fourth most used content management system on the Internet, after WordPress and Drupal.[8]

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Joomla

== External links ==

*[https://www.joomla.org/ Official Joomla website ]
*[https://docs.joomla.org/Main_Page Documentation at Joomla]
*[https://blog.delegatestudio.com/joomla-vs-drupal-comparison Joomla Features]

Collectivism

2020-01-06T09:57:13Z

Phil Morton:

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

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==

Collectivism is a value that is characterized by emphasis on cohesiveness among individuals and prioritization of the group over the self. Individuals or groups that subscribe to a collectivist worldview tend to find common values and goals as particularly salient[1] and demonstrate greater orientation toward in-group than toward out-group.[2] The term "in-group" is thought to be more diffusely defined for collectivist individuals to include societal units ranging from the nuclear family to a religious or racial/ethnic group.[3][4]

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Collectivism

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Relational Functions (mind map)

2020-01-03T21:29:17Z

Phil Morton: Created page with "The category `Relational functions` and the terms that make up that category are presented in a mind map at the improvisers networks online website. The link below is to the `..."

The category `Relational functions` and the terms that make up that category are presented in a mind map at the improvisers networks online website.
The link below is to the `public view` shared on the internet version.
There maybe a [https://en.wikipedia.org/wiki/FreeMind `freemind` version] of a mindmap hosted by the site that can be shared on request.

==Link to the online `mind map` at the website wisemapping==
https://app.wisemapping.com/c/maps/827207/public

==Link==
The mind map `attentive listening` can be viewed at the follow webpage where it has been `embedded`
https://www.improvisersnetworks.online/resources/mind-map-project/relational-functions

==Discuss this further==
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 forum, `Relational functions - (T Nunn) [https://www.improvisersnetworks.online/forum/viewforum.php?f=705&sid=f86a13154619f4df29c5ff84f4221b3c]

[[Category:Relational functions]]

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Listening

2020-01-03T21:07:09Z

Phil Morton:

This term has been covered by the website Wikipedia as "Listening"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==

According to Oxford Living Dictionaries, to listen is to give attention to sound or action.[1] When listening, one is hearing what others are saying, and trying to understand what it means.[2] The act of listening involves complex affective, cognitive, and behavioral processes.[3] Affective processes include the motivation to listen to others; cognitive processes include attending to, understanding, receiving, and interpreting content and relational messages; and behavioral processes include responding to others with verbal and nonverbal feedback.

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Listening

==Discuss this further==
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 forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

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[[Category:Attentive Listening]]

Extended Vocal Technique

2020-01-03T20:42:07Z

Phil Morton:

This term has been covered by the website Wikipedia as "Extended Vocal Technique"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==
Vocalists are capable of producing a variety of extended technique sounds. These alternative singing techniques have been used extensively in the 20th century, especially in art song and opera. Particularly famous examples of extended vocal technique can be found in the music of Luciano Berio, John Cage, George Crumb, Peter Maxwell Davies, Hans Werner Henze, György Ligeti, Demetrio Stratos, Meredith Monk, Giacinto Scelsi, Arnold Schoenberg, Salvatore Sciarrino, Karlheinz Stockhausen, Tim Foust, Avi Kaplan, and Trevor Wishart.

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Extended_vocal_technique

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[[Category:Improviser Vocalist]]

Shelley Hirsch

2020-01-03T20:27:12Z

Phil Morton:

This term has been covered by the website Wikipedia as "Shelley Hirsch"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==

Shelley Hirsch (born June 9, 1952 in Brooklyn, New York) is a vocalist,[1] performance artist, composer, improviser, and writer. She won a DAAD Residency Grant in Berlin 1992, a Prix Futura award in 1993,[2] and multiple awards from Creative Capital, the Foundation for Contemporary Arts, the New York State Council for the Arts, Four from NYFA and six from Harvestworks Digital Media Arts Center.[3] She was a recipient of the Guggenheim Fellowship in Music Composition in 2017.[4]

==Link to the Wikipedia page==

https://en.wikipedia.org/wiki/Shelley_Hirsch

== See also ==

*[https://en.wikipedia.org/wiki/Extended_vocal_technique Extended Voice Technique at Wikipedia]

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[[Category:USA Improvisor Musician]]
[[Category:Improviser Vocalist]]

List of free improvising musicians and groups

2020-01-03T12:36:15Z

Phil Morton:

This term or category has been covered by the website Wikipedia as "List of free improvising musicians and groups"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==

This is a list of musicians and groups who compose and play free music, or free improvisation. In alphabetical order:

==Link to the Wikipedia category page `List of free improvising musicians and groups`==

https://en.wikipedia.org/wiki/List_of_free_improvising_musicians_and_groups

== Link to the List of improvising musicians and groups posted to this site ==

https://www.improvisersnetworks.online/wiki/index.php?title=Category:UK_Improviser_Musician

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Aleatoric music

2020-01-03T11:54:32Z

Phil Morton:

This term has been covered by the website Wikipedia as "Aleatoric Music"

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

==Introduction, copied from Wikipedia==
Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.

The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s. According to his definition, "a process is said to be aleatoric ... if its course is determined in general but depends on chance in detail" (Meyer-Eppler 1957, 55). Through a confusion of Meyer-Eppler's German terms Aleatorik (noun) and aleatorisch (adjective), his translator created a new English word, "aleatoric" (rather than using the existing English adjective "aleatory"), which quickly became fashionable and has persisted (Jacobs 1966). More recently, the variant "aleatoriality" has been introduced (Roig-Francolí 2008, 340).

==Link to Wikipedia page==

https://en.wikipedia.org/wiki/Aleatoric_music

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Agency

2020-01-01T10:34:02Z

Phil Morton:

Wikipedia has an entry or listing for the word [https://en.wikipedia.org/wiki/Agency_(philosophy) Agency - Philosophy]

This site (a wiki-dictionary for free improvisers) will give way to the wikipedia posting for `Agency (Philosophy)` but will include, or simply copy and paste some of the text from Wikipedia that introduces the narrative that sits behind the word

==Start of text clipped from Wikipedia==

'''Agency''' is the capacity of an [https://en.wikipedia.org/wiki/Free_will actor] to act in a given environment. The capacity to act does not at first imply a specific moral dimension to the ability to make the choice to act, and [https://en.wikipedia.org/wiki/Moral_agency moral agency] is therefore a distinct concept. In sociology, an agent is an individual engaging with the social structure. Notably, though, the primacy of [https://en.wikipedia.org/wiki/Structure_and_agency social structure vs. individual capacity] with regard to persons' actions is debated within sociology. This debate concerns, at least partly, the level of [https://en.wikipedia.org/wiki/Reflexivity_(social_theory) reflexivity] an agent may possess.[citation needed]

'''Agency''' may either be classified as unconscious, involuntary behavior, or purposeful, goal directed activity (intentional action). An agent typically has some sort of immediate awareness of their physical activity and the goals that the activity is aimed at realizing. In ‘goal directed action’ an agent implements a kind of direct control or guidance over their own behavior.[1]

'''Human Agency'''

Agency is contrasted to objects reacting to natural forces involving only unthinking deterministic processes. In this respect, agency is subtly distinct from the concept of [https://en.wikipedia.org/wiki/Free_will free will], the philosophical doctrine that our choices are not the product of causal chains, but are significantly free or undetermined. Human agency entails the claim that humans do in fact make decisions and enact them on the world. How humans come to make decisions, by free choice or other processes, is another issue.

The capacity of a human to act as an agent is personal to that human, though considerations of the outcomes flowing from particular acts of human agency for us and others can then be thought to invest a moral component into a given situation wherein an agent has acted, and thus to involve moral agency. If a situation is the consequence of human decision making, persons may be under a duty to apply value judgments to the consequences of their decisions, and held to be responsible for those decisions. Human agency entitles the observer to ask should this have occurred? in a way that would be nonsensical in circumstances lacking human decisions-makers, for example, the impact of comet Shoemaker–Levy on Jupiter.

==Link to the Wikipedia page==
https://en.wikipedia.org/wiki/Agency_(philosophy)

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Jean-Michel Van Schouwburg

2019-11-24T09:08:14Z

Phil Morton:

This term has been covered by the website Wikipedia as "Jean-Michel Van Schouwburg "

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==

Jean-Michel Van Schouwburg (* 1955) ist ein belgischer Improvisationsmusiker (Gesang).

==Link to the Wikipedia page==

List of free improvising musicians and groups

* [https://de.wikipedia.org/wiki/Jean-Michel_Van_Schouwburg Jean-Michel Van Schouwburg -wikipedia page]

[[Category: improvisation: made with the voice]]
[[Category:Improviser Vocalist]]

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Experimental Musical Instruments (magazine)

2019-11-23T19:11:05Z

Phil Morton: Created page with "Experimental Musical Instruments (magazine) This topic is featured in wikipedia * [https://en.wikipedia.org/wiki/Experimental_Musical_Instruments_(magazine) Experimental Mus..."

Experimental Musical Instruments (magazine)

This topic is featured in wikipedia

* [https://en.wikipedia.org/wiki/Experimental_Musical_Instruments_(magazine) Experimental Musical Instruments (magazine) feature at Wikipedia]

Extended technique

2019-11-23T19:04:49Z

Phil Morton:

This term has been covered by the website Wikipedia as "Extended Technique"

This mediawiki site, a `wiki dictionary` about the nature and practice of free improvisation declines to duplicate 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==
In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres.[1]

Composers’ use of extended techniques is not specific to contemporary music (for instance, Hector Berlioz’s use of col legno in his Symphonie Fantastique is an extended technique) and it transcends compositional schools and styles. Extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, particularly in more recent styles like free jazz or avant-garde jazz. Musicians in free improvisation have also made heavy use of extended techniques.

Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and overblowing into a wind instrument without a mouthpiece, or inserting objects on top of the strings of a piano.

Twentieth-century exponents of extended techniques include Henry Cowell (use of fists and arms on the keyboard, playing inside the piano), John Cage (prepared piano), and George Crumb. The Kronos Quartet, which has been among the most active ensembles in promoting contemporary American works for string quartet, frequently plays music which stretches the manner in which sound can be drawn out of instruments.

==Link to the Wikipedia page==
* [https://en.wikipedia.org/wiki/Extended_technique Extended technique feature at wikipedia]

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Prepared guitar

2019-11-23T18:51:44Z

Phil Morton: moved block quote brackets

This topic is covered in Wikipedia

The introduction at Wikipedia is the following

<blockquote> A prepared guitar is a guitar that has had its timbre altered by placing various objects on or between the instrument's strings, including other extended techniques. This practice is sometimes called tabletop guitar, because many prepared guitarists do not hold the instrument in the usual manner, but instead place the guitar on a table to manipulate it.

The idea of altering an instrument's timbre through the use of external objects has been applied to other instruments as well, most notably John Cage's prepared piano, which preceded the prepared guitar. </blockquote>

* [https://en.wikipedia.org/wiki/Prepared_guitar Wikipedia page on `prepared guitar`]

Global - Attentive Listening

2019-11-22T14:31:03Z

Admin: Created page with "In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for bo..."

In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for both musicians and non-musicians”. 6 (Briggs 1986: 5)

''Global (diffuse, non-linear)''

'''source''': quoted & discussed in Free Ensemble Improvisation, Harald Stenström,[http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

'''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 `Global Attentive Listening ` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=720&t=1401&p=1803&sid=f80d93bf18b9188715f2150b83b17a1c#p1803]

Alternatively enter this topic ticket number T1400 in the discussion board search box

This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

[[Category:Attentive Listening]]

Focal - Attentive listening

2019-11-22T14:23:15Z

In Sonic Meditations, Pauline Oliveros distinguishes between two kinds of attention: and regards them as “complementary processes which are incorporated in activities for both musicians and non-musicians”. 6 (Briggs 1986: 5)

''Focal (linear, sequential, directed)''

'''source:''' quoted & discussed in Free Ensemble Improvisation, Harald Stenström, [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

'''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 `Focal (linear, sequential, directed) - Oliveros ` in the forum. [https://www.improvisersnetworks.online/forum/viewforum.php?f=719&sid=f80d93bf18b9188715f2150b83b17a1c]

Alternatively enter this topic ticket number T1400 in the discussion board search box

This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

[[Category:Attentive Listening]]

Listening-in-search - Attentive listening

2019-11-22T14:15:08Z

Admin: Created page with "'''Listening-in-search''' Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listenin..."

'''Listening-in-search'''

Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listening-in-readiness, and background listening”. 5 (pp. 79–80)

''Listening-in-search means that “one scans the acoustic soundscape for particular sounds, attempting to extract or create meaning from their production or the environ-ment’s response to the sounds produced”. Listening-in-search “is the active and openly receptive stance advocated by most practicing free improvisers and committed fans of the music”. (p. 80)
''
'''source:''' Borgo quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

'''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 `Listening-in-search - Attentive listening` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=718&t=1399&p=1801&sid=f80d93bf18b9188715f2150b83b17a1c#p1801]

Alternatively enter this topic ticket number T1399 in the discussion board search box

This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

[[Category:Attentive Listening]]

Listening in readiness - Attentive listening

2019-11-22T14:04:45Z

Admin:

'''Listening-in-readiness
'''
Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listening-in-readiness, and background listening”. 5 (pp. 79–80)

''"Listening in readiness implies for Truax a “state of attention to receive “significant” audio information and familiar sounds-associations built up over time that may be readily identified”. (p. 80)''

'''Source''': Borgo quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

'''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 `Listening in readiness - Attentive listening` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=717&t=1398&sid=f80d93bf18b9188715f2150b83b17a1c]

Alternatively enter this topic ticket number T1398 in the discussion board search box

This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

[[Category:Attentive Listening]]

Background listening - attentive listening

2019-11-22T13:53:02Z

Phil Morton:

'''Background listening'''

Barry Truax has, according to Borgo (1999), “described three general modes of engaging with the acoustic soundscape: listening-in-search, listening-in-readiness, and background listening”. 5 (pp. 79–80)

Background listening
“''occurs continuously when we are not listening for a particular sound . . . where the listener is actively engaged in some other activity”.'' (p. 80)

==Source==
Quoted & discussed in Free Ensemble Improvisation, Harald Stenström, page 90 [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis] link 1

==Discuss this further==
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 `Background listening - Attentive listening` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=716&t=1397&p=1799&sid=f80d93bf18b9188715f2150b83b17a1c#p1799]

Alternatively enter this topic ticket number T1307 in the discussion board search box

This is the link to the forum, `Attentive listening - what is it` [https://www.improvisersnetworks.online/forum/viewforum.php?f=342&sid=f80d93bf18b9188715f2150b83b17a1c]

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[[Category:Attentive Listening]]

Interpolation - Relational functions

2019-11-21T14:27:26Z

Phil Morton: formatting changes

'''Interpolation''' - The insertion or overlaying of utterly foreign material upon existing material wherein two (or more) independent musical characters coexist without affecting one another.

The material inserted, or interpolated, must remain unrelated to the present Flow. The Flow must likewise continue unaffected by the Interpolation to give the sense of "foreign" material inserted. If Interpolation changes the direction or nature of the Flow, it will function as Catalyst, and, if dense enough, Sound Mass. Interpolation also accounts for the not uncommon situation in which two or more improvisers are playing independently, with little or no apparent regard for one another, creating the situation in which relational tendencies may be intentionally ignored; emphasis is placed on Linear Functioning.

==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]

==Discuss this entry/topic==
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 `Interpolation - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=713&t=1395&sid=0d5881ad711742251b02c671fb792a67]

This is the topic ticket number T1395

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]]

Catalyst - Relational Functions

2019-11-21T14:21:01Z

Phil Morton: formatting update

Catalyst - An action to stimulate change in the musical character.

A Catalyst does not continue or reiterate, but rather happens only once, signalling a change. How the Flow is changed is unpredictable, but the fact that a change occurs immediately after a dynamic sound event of some kind makes it evident that it was catalytic in function. A Catalyst can be the product of a conscious, formal decision to change the Flow, to change the music in some definite way. It can also be an impulsive gesture completely outside of consciousness, the product of the Intelligent Body's sense of a need for change.

==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]

==Discuss this entry further==
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 `Catalyst - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=712&t=1394&sid=0d5881ad711742251b02c671fb792a67]

This is the topic ticket number T1394

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]]

Sound mass - relational functions

2019-11-21T14:15:39Z

Phil Morton:

'''Sound Mass''' - A collective complex sound made up of a number of "voices" that are roughly equal in
contribution.

A Sound Mass is normally quite dense, complex and continuous, though it may also be soft while remaining dense or active. Essentially, Sound Mass is a homogeneous, rather static, texture of some kind. The object of listening attention is focused on the subtle but ever-changing details within the Sound Mass, articulated by minute shifts of balance, quickly emerging figures, occasional dynamic sound events, and often a high level of energy wherein the sound itself can be an exciting emotional stimulus.

'''Source- citation required'''

==Discuss this further==
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 `Sound mass - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=710&t=1392&sid=0d5881ad711742251b02c671fb792a67]

This is the discussion board topic ticket number T1392

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]]

Ground - Relational Functions

2019-11-21T14:10:26Z

Phil Morton: presentaional and format changes

'''Bold text''''''Ground''' - The static underlayment to support other higher profile "voice(s)."

''Ground is an element of relative stasis which implies a lead voice(s) over it (though Ground may develop into a Sound Mass with no lead voice). How the Ground is articulated can vary a good deal.
''
Examples include:
*sustained tone,
*chord or noise;
*rhythmically periodic sustained tone,
*chord or noise; periodic event or figure, chord or noise;
*arrhythmically periodic sound event or figure; etc.

What defines the Ground as such is how it is perceived to function; the Ground may well include periodic or aperiodic silences, as well as complexity and textural/rhythmic interest, so long as it continues with a high degree of perceived stasis.

==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]

==Discuss this further==
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 `Ground - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=711&t=1393&sid=0d5881ad711742251b02c671fb792a67]

This is the topic ticket number T1393

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]]

Dialogue - relational functions

2019-11-21T13:56:09Z

Phil Morton:

'''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]
*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==
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]

[[Category:Relational functions]]
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Support - relational function

2019-11-21T09:25:30Z

Phil Morton: formatting changes

Support, The active underlayment to support other higher profile “voice(s)”.

When a solo, duo or trio becomes dominant (obvious), the other players in the group might cease playing, or
provide accompaniment which supports the musical direction of the Flow as determined by a Solo or
Dialogue. An obvious example of Support is drumming that sustains a tempo and punctuates the phrases of
other instruments. Indeed, the function of Support is to enhance not only rhythm and phrasing but other
aspects of a lead voice such as timbre (articulation, register, dynamic) and, if appropriate, pitch
(harmonically, melodically).

==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]

==Discuss this further==
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 `Support - relational functions` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=708&t=1390&sid=5ec02f6f4bf3a5cc2ffc792d70a7d78a]

This is the topic ticket number T1390

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]]

Solo - relational function

2019-11-21T09:22:34Z

Phil Morton: added TOC

Solo
` a single or dominant voice `

The soloist (whether accompanied or not) determines the musical direction, and if accompanied, others
provide some support of that direction. A Solo, however, need not be extensive in group situations. The
function of Solo can, and often does, shift rapidly among players, sometimes so rapidly that a single line may
appear to be shared among two, three or more players.

==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]

==Discuss this further==
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 `solo` in the forum. [https://www.improvisersnetworks.online/forum/viewtopic.php?f=707&t=1389&sid=f86a13154619f4df29c5ff84f4221b3c]

This is the topic ticket number T1389

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

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[[Category:Relational functions]]

Free

2019-11-19T08:33:39Z

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]

Gesture

2019-11-16T09:32:08Z

Phil Morton: added category

Gesture

The term `gesture` or `gestural` can be heard or read in the discourse surrounding `free improvisation` as spoken and written by the practioners themselves.

What does it mean?

Here are some examples, where an individual unpacks the word `Gesture/gestural`

Westendorf defines a gesture as “a musical thought or entity complete unto itself”
that can “vary in length, style (or type), articulation, tone, dynamic quality, rhythm,
pitch, etc.” (Westendorf 1994: 91)

Reinholdsson feels that “a musical gesture may include any tone or combination of
tones which are marked off as a unitary event (with beginning and end)”.
(Reinholdsson 1998: 130)

“Gestural structure is the most immediate and yet notationally the most elusive
aspect of musical communication”. (Wishart 1985:13)

==Source==
The quotes are to be found in, or were taken from, Free Ensemble Improvisation, Harald Stenström A Thesis, page 58, link [http://www.improvisersnetworks.online/resources/books-and-documents/item/480-free-ensemble-improvisation-harald-stenstroem-a-thesis]

==Discuss this further==
This posting `gesture` is supported by the Discussion board of the improvisers networks website

the topic ticket number is T1388

the url link is [https://www.improvisersnetworks.online/forum/viewtopic.php?f=704&t=1388&p=1790&sid=b46e36321e0ea7d04bf9fbe290967763#p1790]

[[Category:Relational functions]]