Notes on film music and the improvisation issue

P. 189-200

• Informations

  ISBN: 9788870969665

  Permalink: http://digital.casalini.it/4451373
• Dans le même volume

  • Introduction
  • Like a cake made from five ingredients : the Art Ensemble of Chicago's social and musical practices
  • The use of improvisation in Rome in the 1960s and 1970s : motivations, languages and the relationship with context
  • Roma-Firenze 1965 : parallel debuts, audio documents and some thoughts on the experimental frame of the launch of Gruppo di Improvvisazione Nuova Consonanza
  • Cornelius Cardew in Rome : the experience of a discordant voice
  • Music, language, crisis : Mario Bertoncini, Walter Branchi and the piano
  • Before the driveless car, there was improvisation : some fleeting thoughts on 50 years of making unpopular music
  • Why is improvisation philosophically so appealing? : some modest and incomplete suggestions
  • The sound to be heard becomes the sound to be listened to.
  • Enacting new consonances : from within the activity of Gruppo di Improvvisazione Nuova Consonanza
  • Presence and immanence : improvisation between liberation and the new.
  • Composing as a dialogue
  • Performing in empathy : collective musical improvisation of Southeast Asia
  • Some introductory words
  • Author song? : the particular case of Fabrizio De André's Via del campo
  • Heavy metal music : where improvisation fails
  • Notes on film music and the improvisation issue
  • Group improvisation in Italy today : an imaginary concert series
  • Mechanisms in free improvisation : creativity and error
  • The GINC's music in the light of audiotactile theory
  • Larry Austin, Franco Evangelisti and the GINC through the papers in the Evangelisti Archive
  • Relations and interaction between the Association and the Improvisation Group : overview and focus on the years of Evangelisti's presidency (1972-78/79)
  • The magical perspectives : Giacinto Scelsi and collective vocal improvisations in Rome
  • Giacinto Scelsi improviser : building a performance practice in dialogue with the complexities of his creative routine
  • Improvisation and determination in Elohim by Giacinto Scelsi