J 2020

Braxtonův hudební systém v mezioborovém nadžánrovém ansámblu

HANOUSEK, Radim

Basic information

Original name

Braxtonův hudební systém v mezioborovém nadžánrovém ansámblu

Name (in English)

Braxton's musical system in an interdisciplinary supra-genre ensemble

Authors

HANOUSEK, Radim (203 Czech Republic, guarantor, belonging to the institution)

Edition

Opus musicum, 2020, 0862-8505

Other information

Language

Czech

Type of outcome

Článek v odborném periodiku

Field of Study

60403 Performing arts studies

Country of publisher

Czech Republic

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

Organization unit

Faculty of Music

Keywords in English

graphic score; artistic research; Anthony Braxton
Změněno: 31/1/2021 19:27, MgA. Ing. Radim Hanousek

Abstract

V originále

Studie pojednává o propojení klasických a jazzových hudebníků ve společném ansámblu při nácviku hudby Anthonyho Braxtona (nar. 1945), a to řízené improvizace využívající Language 1 Types a skladby No. 174 na pomezí jazzu, experimentu a soudobé hudby, s otevřeným obsazením, kombinující improvizaci, klasickou i originální notaci. Porovnává zkušenosti z volné a řízené improvizace, zkoumá přínos, inspirativnost a kreativitu v rámci nové notace a pravidly omezené volnosti interpretace i improvizace.

In English

The article discusses the research into the collaboration between classical and jazz musicians, who have created a joint 20-strong ensemble to rehearse the music of Anthony Braxton. It is a follow-up to our previous paper, Joining Jazz and Classical Musicians in a Single Improvisation Ensemble (Opus Musicum, vol. 51, 2019, No. 3, pp. 26–39), which describes the process of finding common means of expression during non-idiomatic improvisation. To discuss the new sound possibilities in a multi-genre ensemble, we have chosen conducted improvisation using selected musical pieces, including Braxton’s Language Types and Composition No. 174, which is a combination of jazz, experimental and contemporary music, with open instrumentation mixing improvisation, classical and original notation. The research has confirmed our initial hypothesis, i.e. that introducing partial organization in an improvisation ensemble can eliminate or at least reduce previously noted shortcomings and risks of free improvisation and lead to the creation of a functional collective performance, while still retaining the desired spontaneity, creativity and enjoyment.