PREVIOUS MONTH's QUOTATIONS...
September 2002: Dear Carl,
I enjoyed the dimc cd very much.
I recognized the difference between improvisation and intuitive music this time.
These music are not improvisation but intuitive music.
I mean improvisation makes music but intuitive music are born.
Kumi Wakao, japanese musician, on ERMATELL JCD 042: SOUND SCAPES with music from Denmark's Intuitive Music Conference 2001. See also the discussion here.
August 2002: "A musician's background, for Brown, was part of the performative event, as Feldman observed: "Brown's notation, in fact, is geared to counteract the discrepancy between the written page and the performance."
From David Ryan's obituary on composer Earle Brown, who died on the 2. of July. See the whole text here. See also quotations by Brown in "Previous quotations", August 1998, June 2001, January 2002.
July 2002: "Jazz musicians always got inspired by classical music, but instead of going into the structures of the music, jazz musicians have improvised something that sounded like that which they heard. For instance, the melodic lines in bebop often sound like the lines of Bach, but they are not, with respect to form, bound together by the same inner logic found with Bach. In return, they rather reflect something one could call the intuitive logic, that logic which the music demands while being played.".
From Hasse Poulsen: "Den intuitive logik", Dansk Musiktidsskrift 1993/1994, p. 202-204 (article in Danish). DANSK: klik her for at gå til et opslag i www.danskmusiktidsskrift.dk, hvorfra artiklen kan læses i fuldtekst på dansk. Man kan her frit slå op i hele tidsskriftets tekst siden 1925.
May 2002: "After all, fireworks may be
designed but they explode with joy".
Philipp Wachsmann on his piece "Fire
- in the air" included in Emanem
CD 4203 with London Improvisors Orchestra, featuring conducted improvisation.
A short discussion of this phenomenon can be found at: www.info.net.nz/opprobrium/html/online/1/reviews/e1_reviewsM4.html
April 2002: "Some musicians, musicologists, and publishers seem to have too rapidly relegated these experimental notations and open forms to the panoply of sixties' accessories. After the effects of fashion and their excesses have passed, much remains to be discovered in scores and notational principles that permit the overcoming of divides between different types and levels of musical education, and thus encourage all sorts of currents of exchange. For this, however, the channels of information must keep up with the plurality of movements in current thinking...".
From Jean-Yves Bosseur: "Sound and the Visual Arts. Intersections between Music and Plastic Arts today", Paris (Dis Voir) 1993, p.22.
March 2002: "I'd like to assert two categories of structuring, to be located on the spectrum we discussed earlier; non-invasive and invasive. My definition of non-invasive would be those methods which seek to define very general principles, such as who might play when, a very general description of the type of material to be explored (either verbal or notated) or an indication of the mood/atmosphere which the piece might seek to generate (without specific musical instructions). The essential point of non-invasive structures is that the musicians should feel sufficiently unencumbered that they can improvise sensitively, creatively and effectively, using their musical sensitivities alone to guide them. ... the invasive category, and by this I mean a scheme or structure which requires the musicians to divide their attention between improvising and some other activity (watching the conductor, reading music, throwing sponges around(!) etc). These invasive techniques seem to be the ones which prove most problematic for improvisers, and much care is required if they are to be used with any degree of success. One of the most frequently experienced invasive techniques is the use of conventional music notation to assist in the process of structuring. It's worth remembering that Western European music notation has developed from a simple aide-memoire for spontaneous elaboration and flexible realisation into an all-pervasive restraining straightjacket which has become an object of worship in its own right. When I use notation with improvising musicians, I try and encourage them to return to this original 'aide-memoire' state; a more familiar parallel may be my instruction to play the notation "as if it were a jazz standard that one already knew"".
Simon H. Fell: Report On The Composition Of Improvised Music No. 4: some problems of and strategies for working with large improvising ensembles.Quoted from Simon H. Fell's homepage, subpage http://www.bf-noise.demon.co.uk/texts/rubberneck28.html
February 2002: In comparison between set and improvised performances, what do you think the audience gets from a set performance?
"In set work the audience knows that the composition they see has gone through a process of decisions which have been rehearsed and reappraised. This rehearsal gives it a history which can give it a certain calm which can lend it an authority; this in turn might make it mere easily receivable.
With improvised work the audience is watching the discovery, the decisions and their execution all a the same time. This brings about much energy and aliveliness to the situation which can be very stimulating. (...)
The fact of realising that an event will occur and can never happen again is sometimes intimidating for a public. On the other hand there are many people who actually enjoy, with or without knowing it, the improvised moment."
Dancer Julyen Hamilton in: Agnes Benoit, "Conversation with Julyen Hamilton", Nouvelles de dance 32/33 p. 197, quoted from: Efterår 2001. Improvisation og dans v/ Karen Vedel, p. 108. Institut for Kunsthistorie, Dans og Teatervidenskab, Kbhs Universitet Kompendieudsalg - Humaniora (tel. 3532 9161). - Atwww.julyenhamilton.com , there is a section with writings consisting of various thoughts and observations in progress.
January 2002: "It is not possible, given any degree of optimism and generosity in regard to people in general, to set a time limit on creative reflection or a limitation on the number of people involved in the creation...".
American composer Earle Brown, in his classic article about Form in New Music, Darmstädter Beiträge zur neuen Musik X, Mainz 1966, p.61.
December 2001: Freely improvised music is - at its best - saturated with vitality, spontaneity and fury - and sometimes also with a surprising gentleness. Composed music, on the contrary, has a tightness thanks to its inner discipline and form, and it is this inner coherence which often embraces the listener and gives a feeling that the music has a direction and motivation which is inscribed within an intelligent discourse.
This evening's concert has been created from the conviction that this does not always need to be an either-or.
It can also be both-and.
A co-existence of different forms of expression in which BOTH the improvisational and the compositional aspects are artistically equal variables.
From concert invitation, "Structured improvisations", 16th November 2001 in Copenhagen. Music by Dan Marmorstein, Niels Winther, Vagn Olsson, Jørgen Teller Morten Carlsen and Per Buhl Acs. Members of concert organisation Skraep - seehttp://www.skraep.dk/
November 2001: "free musik - free mind - free world"
Motto of New York musician Blaise Siwula. Read his contributions to the discussion at Denmark's Intuitive Music Conference 2001here (and follow further links on to an excerpt of a score of him and to his homepage).
October 2001: Ge-Suk: what do you think of calling graphic notations "half-improvisations" ?
Carl: maybe it could suit your pieces, except for the rather exact direction you gave us about "long slightly sliding tones".
Roman: I think of a Russian study of kinds of improvisation in World Music. Freedom is relative: it means to follow yourself, not a system. So there can be no half-improvisation, only 100%.
Ge-Suk: maybe 99%.
From the Conferencediscussion at Denmark's Intuitive Music Conference 2001.
"At my American final concert I performed a set of solo piano and a mass in the catholic tradition for seven singers. I could not have done that here - nor at the Royal Conservatory of Music, for that sake - since there were also improvising elements and alternative forms of notation..."
Jonas Müller, Danish musician, "Konserves" May 2001, quoted by perm. and transl. by CBN, about his experience with the Rhythmic Music Conservatory in Copenhagen.
This critisicm of 'improvising elements and alternative forms of notation' not being allowed surprised me. Should not a very new Music Conservatory (founded 1986) specialising in non-classical music be open to new forms of playing and ways of conceiving of musical composition? So I interviewed the headmaster, Peter Danstrup about this - here follows some excerpts from our talk:
Does your institution have a definite attitude to improvising elements and alternative forms of notation?
"Regulations state on the contrary that there must be improvisation, so that sounds like a criticism of the Royal Conservatory - he is also welcome to use alternative notation. There is nothing in those things being against our regulations, certainly not."
Does Rhythmic Music Conservatory have a general attitude to which parts of music life students are educated to serve?
"We educate people to be a part of rhythmic music life in the world..."
So there is an aim to be many-sided?
"Yes, there is no demand for any specific kind of music, but we demand that one plays a main instrument, that one improvises on it and does that in interaction with others, that's described in the regulations. One can mention in the assessment that the student played his own composition or arrangement, we often do that, but we do not demand that. The final concert is an examination of playing on the main instrument."
There is also an examination in the subject of arrangement?
And can one also have improvising elements and alternative notation forms there ?
"I certainly think, yes."
(Note: "rhythmic music" is a Danish label for non-classical musics such as jazz and rock)
August 2001: "As an improvising musician, one should first of all be so self-conscious as to discard criteria which have little or no validity concerning improvised music and instead point to that which is specific improvisational qualities. No, nobody can improvise an Ockeghem-like four-part diminution canon, and it is an open question whether an improvised fugue can be as good as a written one. But which kind of composition can make the moment present, go into specialities offered only by this moment, this situation? Which kind of composition can make the tension processes between players graspable for the musical experience? Which kind of composition can deal with a differentiation of the timbral possibilities of one instrument like improvised music can?"
From Matthias Schwabe, "Qualität in der Improvisation", ringgespräch über gruppenimprovisation LXVII, June 2001, transl. from German by cbn. (German: mehr über diese zeitschrift überjwschwabe@aol.com).
July 2001: Frank Hiesler: "Graphic notations have the aim not to play the piece but to live with the piece"
From the Conference discussion at Denmark's Intuitive Music Conference 2001. See theDIMC homepage.
June 2001: "what is a good performance? It lies in the hands and head of a ... performer...the shortest way between two people is not a straight line".
Composer Earle Brown, article "Notation und Ausführung neuer Musik" (Notation and Performance of New Music) in Notation neuer Musik. Darmstädter Beiträge IX, Mainz (Schott) 1965 p.78, transl. by CBN.
May 2001: "One of the things that puzzled me was just how little the musicians, all men at that time, seemed to talk to each other. Often they would meet and with barely a word prepare to play together. There appeared to be very little communication in any recognisable sense. Then somehow out of this apparent absence of communication would come the most wonderful sounds."
From Annabel Nicolson: "The Lambs are Deafening", in Resonance vol.8 No.2/Vol.9 No.1 double issue: "lmc...the first 25 years", autumn 2000, p.17. See London Musicians' Collective's website:www.l-m-c.org.uk/
April 2001: "Composition could be said to be a process which stores and categorises information having cumulated in past times, so as to make it posible to get forward without having to re-invent the wheel all the time.
By contrast, improvisation is similar to removal of refuse: it takes away the cumulated perceptions of the past again and again, so as to make it possible to get forward at all.
The basic technique of composition consists in moving of information from short-time memory into long-term memory: to retain an idea for sufficiently long time in order to write it down. (...)
The basic technique of improvisation consists in short-cutting this storage process: to forget everything - at least, temporarily - which is not important for the goal of expressing an immediate idea in sound.
From Frederic Rzewski: "Autonomie des Augenblicks. Theorie der Improvisation",MusikTexte 86/87, November 2000, p.42 (Transl. back into English by CBN). Lecture held by Rzewski at Fünftes Nachwuchsforum der Gesellschaft für neue Musik zum Thema "Komponieren, Improvisieren, Interpretieren", 28. March 2000 at Frankfurt am Main.
March 2001: "Improvisation is its preparation".
Austrian improvisor Burkhard Stangl, quoted from Peter Niklas Wilson: "Rekonfigurationen. Komposition und Improvisation",MusikTexte 86/87, November 2000. (Transl. by CBN). Lecture held by Wilson at Symposium improvisierte Musik, Arbeitsgemeinschaft Improvisierte Musik (AIM) in Köln, Januar 2000.
February 2001: "One aspect of Alterations that was so interesting was its 'cooperative confrontation'. Almost any musical statement was possible at any given time, no matter what else was happening at that time. Aggression, destructiveness, stupidity, wilfulness and perversity were as much a part of the organisational process of the music as the more treasured improvisation virtues of listening, reflection, intelligence and cooperation."
David Toop, note to Alterations CD IR 001. More on this new Alterations release as well as on two Danish ones athttp://www.angelfire.com/ut/irecords
January 2001: "...out of a free moment which is under the influence of nothing, a purely intuitive music can emerge".
From a programme note by musician and composer Ivan Vincze. More to be seen - in Danish and Hungarian! - athttp://hjem.get2net.dk/hamv.laz/Invitation.html
December 2000: "A source of continuing inspiration to the younger musicians was John Stevens' work in concerts and workshops. Maggie Nicols was another improviser who excelled at leading workshops. Within one hour, a roomful of assorted and embarrassed individuals could be led to build a communal musical experience of enormous power."
From Clive Bell: "A Brief History of the LMC", in Resonance vol.8 No.2/Vol.9 No.1 double issue: "lmc...the first 25 years", autumn 2000, p.5. See London Musicians' Collective's website:
November 2000: "yuou can improvise or you can compromise."
By "pcl",http://www.freejazz.org/ (page 1). This site contains amazingly many and long discussions on free music and how to approach it, with students, teachers and musicians as participants.
October 2000: "The first commandment of anarchy: You must feel responsible for the whole.
One more commandment of anarchy is that one must master the balancing between uncompromising individuality and diffuse opportunism.
You cannot trust that people and states remain as they are. Instead, you must train yourself all the time to perceive their changes better and better."
From Doris Kösterke: "New music. Commandments of anarchy. Ways of playing in freely improvised music". Radio lecture, 1997. Transl. by CBN.DEUTSCH: noch ein Zitat von ihr.
September 2000: "It's the same thing with abstract paintings - I can control what's on the canvas, NOT what you see. Else I should make a horse or a house. It is a silly idea to control something which is not absolute."
Tytte Buus, visual artist, in the discussion duringDenmark's Intuitive Music Conference 2000.
August 2000:"Free collective improvisation sanctions styles, not because of their rigidity but because of their exclusivity - the fact that they inevitably alienate: 'Leave your past outside the door; listen as if your life depended on it'. One student with considerable experience of playing in pop groups described adapting to free improvisation as being 'like learning to ride a bike having just had the stabilizers removed'"
From Charles E. Ford: "Free collective improvisation in higher education", British Journal of Music Education 1995, vol. 12, 103-112, p. 108.
July 2000: "..it seems to me that unless form and content are compatible they are likely to cancel each other out. Can anarchy music be directed by a conductor?"
Eddie Prèvost, "Commentary on the Proceedings", in: Improvisation. History, Directions, Practise. The Proceedings held at the Institute of Contemporary Arts, London on March 31st 1984. London (Association of Improvising Musicians), 1984.
June 2000: "Thank you for the CD. It is difficult!
Like passing by a thousand half-open doors in a fast tempo."
Friend of mine in a letter about theDIMC 001 CD. Comments...
May 2000: "...what is heard is indistinguishable from its process. In fact, process itself might be called the Zeitgeist <time spirit> of our age"
From Michael Nyman: Experimental music. Cage and beyond, p.2. This important book from 1974 on the anglo-saxon tradition of indeterminate music has now been re-printed (with a preface by Brian Eno).
April 2000: "Exposure to the indeterminacy of collective interactions is deliberately chosen by musicians engaging in free collective improvisation. There is no score, no set of written instructions. This doesn't just mean there is no predetermined form to be unfolded: it also means there is nothing to co-ordinate or to synchronize the intentions of the musicians as the music unfolds. In other words, I can make a sound that I intend to mark the end of a musical phrase, and there is nothing that stops you hearing it as a sound initiating a new phrase, or, simply, continuing the current phrase. And what you play (or don't play) next will reflect your interpretation of the opportunities. Our different intentions in each moment are generated by our different constitutive listenings to what is happening in the previous moment. To speak of intention is to emphasise not a kind of consciousness, but a tendency or projection towards a particular result in the immediate future. In each moment what is played is 'as if' some particular outcome is going to follow from it. In free collective improvisation, this outcome will generally either not happen, or turn into something else. I believe that the unfulfilled implications of each musical act are a vital kind of information that forms an integral part of the overall impression. In other words, the totality of what is happening is precisely the generation of a rich field of possibilities, containg not only what was actually played, but also what might have been played.
It would'nt be too strong to say this is the defining aspect of the aesthetic project of improvisation"
Tim Hodginson, from "A rich field of possibilities. Strategies and indeterminacy in free improvisation", in Resonance 8,1 - March 2000. Published byLondon Musician's Collective.
March 2000: "Form can only be invented; material can only be discovered"
Roman Haubenstock-Ramati: Notation - Material and Form. Perspectives of New Music, Fall-Winter 1965 p. 39-44.
February 2000: In 1968 I ran into Steve Lacy on the street in Rome. I took out my pocket tape recorder and asked him to describe in fifteen seconds the difference between composition and improvisation. He answered: "In fifteen seconds the difference between composition and improvisation is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds." His answer lasted exactly fifteen seconds. --Frederic Rzewski
One of many quotations inMusic Quotes compiled by Gregory Acker at The Improvisor's website.
January 2000: "Tradition is something distinctly different from habits, even from very good habits, since, according to its nature, habit is acquired unconsciously, whereas tradition is the result of a conscious and well-considered approval.
...Far from causing a repetition of that which has been, tradition presupposes the reality of that which is permanent. It is like a family farm, a legacy one receives on the condition that it is fertilized and handed on to one's descendants"
Igor F. Strawinsky in "Poétique Musicale" (1946), transl. from a Danish ed. (Copenhagen 1961, p.56) by CBN.Click here to see why this quotation appears on a website for improvised music!
December 1999: Gerhard: "Intuitive art is getting exciting exactly when it begins to be boring. When you get stuck, you have to create.
John: so intuitive music comes from boredom?
Carl: maybe John is literally right. Since the art world is boring, we have to invent intuitive art.
... Tytte: I do not agree that normal art is boring - all art is creative, it always starts so. Since we do not have to fight for survival in our culture, there is a greater demand for creativity".
From the discussion during Denmark's Intuitive Music Conference 1999. Clickhere to see more!
November 1999: "To be a free improvisor, you have a certain attitude to rules, to throwing them away, to accepting elements of chance".
Christian Munthe in a lecture at the recent SOUNDS 99 festival in Stockholm 7-10 October. You can read an article by him on the same subject atwww.shef.ac.uk/misc/rec/ps/efi/ehome.html - "What is free improvisation". DANSK: Se en rapport ved CBN.
October 1999: "There is a kind of tension to be maintained between total heterogeneity (where there is no cheese and pickle sandwich) and total homogenization where all identity markers are flattened out and we arrive at a kind of filtered 'new age-world music' pap. (Like a cheese and pickle sandwich in the blender!) The aim as I see it is to initiate and to respond to the initiatives of others in proportion to a sense of demands made by the particular piece of music as it unfolds."
Improvisor Evan Parker on the intercultural aspect of improvising. Quoted from "Articulating Intercultural Free Improvisation: Evan Parker's Synergetics Project" by Jason Stanyek, in Resonance 7, 2, 1999, ed. byLondon Musician's Collective.
September 1999: "What is art? Action in front of existence. What is a work of art? An attempt to cope with existence once for all".
Gunner Colding-Jørgensen (Danish composer and musician) in bladet 2, June 1973. bladet was edited by Group for Alternative Music. Read more about the group in an article on this site on Experimental Music in Denmark - clickhere.
August 1999: "The music is difficult in a way comparable to the way Adorno finds the music of Schoenberg difficult - not out of being pretentious or obscure, but because it demands active and concentrated listening from the very beginning...it demands not only contemplation but also action."
Dror Feiler on improvised music in Swedish magazinegränslöst 2, June 1999.
July 1999: "When the water is clear, you can see the fishes. When the air is clear, you can hear the sounds".
From "Sound Fishes" by Pauline Oliveros, quoted from an article by Erik Ulman reprinted in German in MusikTexte 79, Juni 1999, p.68 (transl. back from German). The article deals with the symposium Improvising Across Borders (April 9-11, 1999, Mandeville Center, University of California, San Diego). Inspired by the symposium, a permanent websiteImprovising Across Borders has now been set up.
June 1999:"These important differences to traditional music-making, these fundamentally different human relations within such an ensemble are not the least important characteristics which give group improvisation the timbre of that which is really new (if some of that could be transferred to the common living together on our planet, we would take a step ahead)."
From Erhard Karkoshka: "Aspects of Group Improvisation" (1971). Transl. from German 1999 and published for the first time in English at this site. Homage to Erhard Karkoshka and his thoughts which inspired and encouraged me a lot as a student in the seventies. Clickhere to see the article in full text!
May 1999: "How can the organizing powers in improvisation be indeterminate? How can improvisation serve as a democratizing means within a social space? Improvisation is often ripe with uncertainty, how can this uncertainty function to democratize these spaces?"
"Momentary Power Constitution and Socio-Political Structures Within Collaborative Improvisation", Abstract by Andrew J. Bucksberg from Improvising Across Borders. An interdisciplinary symposium on improvised music. April 9-11, 1999, Mandeville Center, University of California, San Diego. From one of many interesting abstracts published atImprovising Across Borders.
April 1999: "The analogy with speech can help us. If the classically trained musician finds thinking and performing music simultaneously a well-nigh impossible feat, he can find comfort in the fact that all of us practise the art of thinking and performing speech simultaneously every day without giving it a moment's thought."
Christopher Small in his article "No Meanings without Rules", Improvisation. History, Directions, Practise. AIM (Ass. of Improvising musicians), London 1984.
March 1999: "Contrary to other extreme art forms there is often room for humour, at times even to hilarious merriment and still there is no degeneration into flipped-out nonsense (...)
And since this is about new interaction prospects between human beings, about new possibilities in life, the music always appears relevant regardless how strange it appears at first sight"
Ole Jall in Dansk Musiktidsskrift 4, dec. 1998/99 about his encounter with improvised music at 1st Symposium for Contemporary Music (SCM), 19-22 Nov. 1998 in Copenhagen.
Febrary 1999: "I would like to play for you... no pieces, just music"
American Violinist Malcom Goldstein introducing an improvised solo concert. At Stichting Logos, Gent, Beligum, probably somewhere in the eighties. Amused laughter is heard from the public at the recording in theLogos Archive.
January 1999: "Nowadays one notices everywhere a wish to "humanize" music. To achieve this, we must take a risk and first "humanize" the tasks of the performer."
Improvisor and composer Vinko Globokar in his article "On reacting" first printed in French in musique en jeu 1, 1970 ("Réagir"), subsequently in German in Melos 2, 1971 ("Vom Reagieren").
December 1998: "Creation is not the replacing of nothing with something or chaos with pattern. There is no chaos; there is a vast, living world in which the rules for specifying the pattern are so complicated that after you look at a few of them you become tired. The creative act pulls out some more inclusive shape or progression that gathers an immense amount of complexity into a simple, satisfying notion.
Jokes takes us through this whole cycle in a matter of seconds."
Improvising violinist Stephen Nachmanovitch in his book Free Play. Improvisation in Life and Art, 1990, p. 106. You can read more atwww.freeplay.com/
November 1998: "...I worked in an improvisation group called Symfrones. We became very inspired by Stockhausen when he came to Oslo in 1969 with his group and improvised freely...We thought that we could also do something like that and began to play together. There we acquired a kind of understanding for what music was without looking at specific stylistic criteria...Thoresen and I found out that there is a hidden world underlying all styles..."
Norwegian composer Olav-Anthon Thommesen in an interview in Dansk Musiktidsskrift (Danish Music Review), Oct. 1998/99, p.42. Transl. by cbn.
October 1998: "During the 1950-ties and 60-ties, graphic and verbal notations operating with aspects of indeterminacy came to hold a central position (cf. LaMonte Young 1963, Chr. Wolff, Prose Collection, 1968; C.Cardew, Nature Study Notes, 1969)..."
Rudolf Frisius in his article "Improvisation" in Die Musik in Geschichte und Gegenwart (Finscher, Ludwig ed.), Zweite, neubearbeitete Ausgabe. Kassel etc. 1996 (Bärenreiter + Metzler), row 592. This is a major German musicological encyclopedia of music now been re-issued. Translated by cbn.
September 1998: "The priorities of notation do not merely reflect musical priorities. They create them".
English composer Trevor Wishart, quoted from the score of "mutatis mutandis 7" (1987) byLesley Olsson.
August 1998: "Considering the developments which have taken place in extending the physical parameters of sound within recent years it seems reasonable to consider the potential of the human mind ... to consciously extend it further into the actual generation of the work seems to me to be an inevitable and important step; a step which not only expands the potential of the "environment" of relationships (the work) but also the communicative potential, its inherent multiplicity of "meaning". Rather than diminish the responsibility of the composer or anyone else, it expands and intensifies all of the dimensions of creating and perceiving ."
American composer Earle Brown, in his classic article about Form in New Music, Darmstädter Beiträge zur neuen Musik X, Mainz 1966, p.58.
July 1998: "It can seem a paradox to allow for open form - not to speak of improvisation - in works that are constructivistic to the degree found in my works. It only works in a close collaboration with musicians. Apart from that, it is a paradox the qualities of which attract me."
Danish composer Ejnar Kanding, Dansk Musik Tidsskrift 7, May 1997/98, p.217.
June 1998: "We do not need anyone to tell us what we are to dream. Why should we then have anyone to tell us what to play?"
Davey Williams, pioneer of improvised music, Alabama. "The Improvisor. The international journal of free improvisation" is one of his initiatives. (In 1998 it became a purely electronic journal centered around improvised music reviews. Click
Quoted from the homepage ofJohannes Bergmark, article in Swedish "Vad är improvisation och varför improvisera".
May 1998: "Many so-called new music-musicians argue that we have now understood modernism, and therefore we can now (whew, what a relief!) allow ourselves to write tonal music again within the old stereotypes. To me, this is certainly a spineless point of view. The modernist way of thinking has not at all become a living language. It has been an area reserved for some exclusive experts. To go back to the working methods of the past is to refuse the challenge of making the demanding thoughts of our time come to life. As all other seriously working artists, improvisational musicians are taking up this challenge."
Danish musician and organizer Hasse Poulsen, in Dansk Musiktidsskrift (Danish Music Journal), april 1997/98, p.190). Hasse has also taken the initiative to build up
April 1998: "To me, intuitive music is to cut the time - it shows what I am, what people are"
Kumi Wakao, pianist, composer and improvising musician, Hiroshima, Japan. Stated during the discussion atDIMC 1997.
Carl Bergstrøm-Nielsen's Favourite Litterature and own Writings (Også på DANSK)
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