DIMC Conference Discussion 2004
Present were: Jens-Ole Paulin, Rii Numata, Anke Ames, Hanne Hyllegaard, Carl
Bergstrøm-Nielsen, Henrik Rasmussen, Corinna Eikmeier, Gerhard Pischinger, Astrid Penkert
Carl: did you touch on interesting moments during your actual work till now?
Jens-Ole: we had a rule, not to make a unity
Astrid: you have to be very strong
Gerhard: it is difficult to be a soloist because everybody joins you
Astrid: it is a point of quality for me in improvisation, that not everyone wants to play at the
Anke: much improvised music is like water wawes, rather alike. Can be nice, but is not
enough for me.
Hanne: it gets very much alive when everything is allowed, in your energy piece.
Carl: it takes a big collective discipline to realise it. Maybe this flexibility is a modern ideal -
compared to old improvisors like Derek Bailey, Evan Parker, Cecil Taylor etc. who usually
sound the same (even if Bailey coined the progressive term "non-idiomatic improvisation" and
changed his style through Webern studies).
Anke: I like the possibility to make something new happen when I go and play
Carl: could it also be going in and out of styles?
Gerhard: it is something to think about what Anke says about the wawes and her point to make scores - normally we think of composiiton as limitations, but here, the composition is taking away the limitations of the wawes.
Anke: formerly, it was said one should avoid melody, but if you can predict what happens, it
is not free either
Rii: to me, free improvisation is not very free, many things we cannot play.
Corinna: everyone has own limitations inside - if we get new ones, we can throw our own
ones out of the window.
Carl: I like to make quotations, but not stick to styles. Maybe having fun with playing styles is
the most important thing!
Carl: we represent very different contexts - a Japanese educational context, the new Leipzig
tradition of improvisation studies, my improvisation teaching and the experimental scene of
Copenhagen, the Rotterdam scene, meditative work with development groups bordering on
Jens-Ole: when we play long notes, music becomes meditative, the gap is not so big. - I draw
printings on the computer which plays them.
(Here, we had a showing of graphics we played from by Anke and Rii - click here to see them)
Corinna: I often use hings from literature or nature for improvisation, I think that's the same.
Carl: Did you experience a particularly successful playing rule ?
Hanne: I introduced the idea to play long tones and beautyful disharmonies. Afterwards, we
went on with structures in a similar way - a whole catalogue of structures.
Carl: We felt very good about Anke's Energy Piece the first time and we played it again today.
Seems it suited us well, hard to explain why.
Henrik: How do we get inspired ... maybe it's good to make the musician a little bit confused.
Hanne: too much confusion is not good.
Rii: what do you mean by confusion?
Carl: Opening up for intuition, becoming awake (as Stockhausen said). I think this is a classic
metapher with meditation people to see higher consciousness as an awakening
Hanne: society is sleeping.
Rii: It could be about accepting new values, accepting new ideas is dynamic. I recently
participated in a seminar given by Otomo Yoshide, he also spoke about confusion.
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