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Spontaneous music : the first generation British free improvisers

Callingham, Andrew Edward (2007) Spontaneous music : the first generation British free improvisers. Doctoral thesis, University of Huddersfield.

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    Abstract

    The British free improvisation scene originated in London and Sheffield during the
    mid 1960s. In groups such as AMM, the Spontaneous Music Ensemble and Joseph
    Holbrooke, a distinctive and ambitious musicality developed that still occupies most
    of its protagonists forty years later.

    Marked stylistic contrasts developed within the genre, notably the `atomistic' and
    `laminar' methods of interaction. Nonetheless, a consistency of principle and practice
    was also apparent that defined British free improvisation as unique. In some respects
    the genre resembled its German, Dutch and American counterparts, and also the jazz
    and classical avant-gardes that had inspired them. Both conceptually and practically,
    however, clear differences remained.

    The British free improvisers refined a method and an aesthetic of musical creativity,
    which suggested an intimate perspective and a detailed analysis of that which we
    accept as `music'. Its techniques and results were unconventional, but remained
    consistent with music's defining concepts and experiences. As such, British free
    improvisation suggested a more inclusive model of musicality than is common, and
    implied a broad critique of the cultural values that define `music' at all. Though the
    free improvisers themselves did not explicitly state the connection, their work may be
    viewed in the context of Deconstruction: the post-structuralist analytical strategy
    associated with philosopher Jacques Derrida.

    British free improvisation culminated from innovations within the twentieth century
    avant-garde. Referencing styles such as atonality and free jazz, it challenged the
    aesthetic, technical and hierarchical standards of Western tradition in a form that was
    striking and extreme, but also of logical development and focus. Free improvisation
    owed explicit debt to a variety of other musics; its most singular achievement
    however, was the redefinition of `rhythm' by which it disguised this fact.

    The music of the first generation British free improvisers is reliant upon precise
    conceptual and practical execution. But though this has enabled the genre to be
    musically innovative, in the long term it has also become a logical problem. With
    British free improvisation as its subject, the scrutiny of Deconstruction reveals
    significant discrepancies between what `free improvisation' implies and what it
    actually represents.

    Item Type: Thesis (Doctoral)
    Additional Information: EThOS Persistent ID uk.bl.ethos.438075
    Subjects: M Music and Books on Music > ML Literature of music
    Schools: School of Music, Humanities and Media
    Depositing User: Graham Stone
    Date Deposited: 10 Jun 2009 16:18
    Last Modified: 28 Jul 2010 19:37
    URI: http://eprints.hud.ac.uk/id/eprint/4659

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