Performers and Composers as Co-creators
Bruce Ellis Benson in his book, The Improvisation of Musical Dialogue, argues that instead of choosing between Werktreu[1] or a kind of musical anarchy, we should look to the past where we find a way...
View ArticleBenson on the Openness of Composing
In chapter two of his book, The Improvisation of Musical Dialogue, Bruce Ellis Benson observes that we tend to think that a musical composition is finished when the piece (in its “final” version) is...
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Part I: Phenomenological Explorations of Music
As Bruce Ellis Benson explains in chapter two of his book, The Improvisation of Musical Dialogue, we tend to think that a musical composition is finished when the piece in its “final” version is...
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Part II: Phenomenological Explorations of Music
What I have in mind with this flexibility that maintains identity (see part I) can be illustrated by way of a jazz musical example, specifically, what is called in jazz parlance, a “lead sheet.” A jazz...
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Part IV: Phenomenological Explorations of Music
Contrary to the common negative characterization (see part III), improvisation as expressed in jazz involves a high degree of prepared and calculated musical ideas. All too frequently we hear the...
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Part V: Phenomenological Explorations of Music
[See part IV]. This is my concluding post on the “Phenomenological Explorations of Music” series. Having examined the calculated aspects of jazz improvisation, as well as highlighting the some of...
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