| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910417794503321 |
|
|
Titolo |
Free improvisation : history and perspectives / / editors, Alessandro Sbordoni, Antonio Rostagno ; collaborazione redazionale di Vera Vecchiarelli e Gianluca Chelini |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
LIM - Libreria Musicale Italiana |
|
|
|
|
|
|
|
Classificazione |
|
|
|
|
|
|
Soggetti |
|
Improvisation (Music) |
Improvisation (Music) - History |
Musikalische Aufführungspraxis |
Musik |
Improvisation |
Conference papers and proceedings. |
History |
Konferenzschrift2017Rom |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Sommario/riassunto |
|
The book, on the initiative of Associazione Nuova Consonanza-Rome in collaboration with Sapienza-Univeristy of Rome, addresses two relevant aspects of the conceptual and pracitcal field of improvisation in general, and of 'free improvisation' in particular, mainly in the 1960s and 1970s. On the one hand, some precise historical moments are investigated, documented and dicussed; on the other hand, some theoretical and analytical criteria are brought into focus. The main objective is to clarify the historical context within which the activities of the Gruppo di Improvvisazione Nuova Consonanza (GINC) took place, introducing also other similar experiences such as the Chicago Art Ensemble, or other figures such Giacinto Scelsi, Giovanni Guaccero, Cornelius Cardew, Mario Bertoncini, Walter Branchi, Alvin Curran and other protagonists of the improvisational scene in Rome (and beyond) |
|
|
|
|
|
|
|
|
|
|
in those decades. |
A second part is concerned with philosophical, analytical or theoretical aspects of improvisation, within and beyond the experience of GINC: musical improvisation as a form of interpersonal relationship, new ways of subjectivity, empathic intentions inside and outside European culture, new paradigms of musical practice (such as Sbordoni's idea of 'composing in dialogue'), renewed questions about the relationship between composition and improvisation in other levels of the musical world from the 1960s to the current practices. A final section of the book focuses on two important experiences in improvisation: the GINC, of course, and Giacinto Scelsi considered as an improviser (a very delicate subject), with presentation, analysis and discussion of new sources and transcriptions. |
|
|
|
|
|
| |