On Mon, 20 Jun 2011, Pedro Oliveira wrote:
Hi Patrice, I think you didn't get my point... I mentioned Coltrane as an example of a musician that extrapolated his own instrument from the 12-tone idea (particularly from A Love Supreme on).
sticking to 12-tone or getting out of 12-tone is irrelevant to the discussion.
However, I think that open musical structures are a more complex subject to put it into the "improvisation" badge. For instance, if you take Terry Riley's "In C", to name a well-known piece, its structure is fairly open, although no player improvises.
In « In C », every player improvises the switch to each next part.
This is also used in many musical pieces and it was discussed even by Umberto Eco as open works... and correct me if I'm wrong, but I think they differ from improvisation...
What's improvisation ? (with a definition, not relying on examples)
I'm not postulating an ultimate truth or mentality whatsoever, I'm just.. speculating. :)
Oh yeah, but :
but then, again... what is true improvisation in the context of Pd, Max, whatever?
How do you separate true from false or not-so-true ?
> I'm asking because, like I said, I do agree with Marco - recombining > patterns doesn't consist of improvisation for me as well...
Live decisions are live decisions. Some of them are small and are called interpretation, some of them are big and are called improvisation. But how do people pick a clear way to separate the two concepts, and what cause does that serve ?
_______________________________________________________________________ | Mathieu Bouchard ---- tél: +1.514.383.3801 ---- Villeray, Montréal, QC
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