Re: memory and improvisation

[roberto <roberto@nomade.worldonline.co.uk>]

This thread on abstract/concrete improvisation/composition is quite
intriguing.
The only "concrete" reference I think we can use is the dictionary
definition, anything else is personal interpretation and there can be as
many as there are people.
Some definitions of abstract: Derived - Separated from matter -  Ideal - 
One
thing concentrating in itself the virtues of several - Extracted from....
There is plenty there to discuss. The fact that many people call abstract
anything they can't understand is obviously wrong but, being quite common,
it's probably worth looking at and must have a seed of meaning.
According to the definition itself we should agree that all music is
abstract, but then we can also all agree that it can be quite difficult to
consider certain kinds of commercial music abstract. What are we left with
but very personal and very arguable perceptions?
Do we really need to define abstract or concrete music?
I know of many artists, in music as well as performing and figurative arts,
who became so concerned with extracting concepts from their work that 
almost
ceased to produce work.
If we look at improvisation and composition we could agree that
improvisation can leave more space to abstract concepts. By its own nature
improvisation is born out of the combination of the individual experiences
and languages of the improvisers. A good improvisation happens when a 
number
of musicians meet with an open mind, have something to express, are able to
listen to each other and respond instantly and instinctively. The result is
unpredictable like a lively discussion and can lead in any direction.
The mood of the audience is crucial too, the ability to perceive those
"abstract" elements that make up the whole.
A composition can be intentionally abstract but only leaves a certain 
amount
of space to the performers, the space to interpret the written material
within the given boundaries, changing expression, adding emphasis.
I have been an improviser for 30 (auch!) years and every time I rejoyce the
surprise and emotion caused by hearing something new and unknown coming out
of the combination of many musicians. The language resulting from the
conversation between different instruments and idioms. That something
special and totally abstract you can feel in the air when people are
stretching their imagination and ability to dialogue with each other and
there and then create music. Music that, in the best cases, can reach our
emotions directly and be understood with no need for explanations.

Roberto  


______________________________________________
Roberto Battista
http://www.robat.scl.net
http://www.robat.scl.net/lectures/index.shtm
Tel. 0044 020 8449 1995
Mobile 0775 960 4344
______________________________________________
http://www.rustyrobot.com
independent on-line music distribution,
the music you can't find elsewhere,
hybrid, eclectic, world, looped, unusual...
______________________________________________
http://www.robat.scl.net/html/tibet/tibet.shtm
an exciting project on technology applied to
mobile education for developing countries and
remote locations...
______________________________________________