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References (10)
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A. Heble, Ellen Waterman, Frédérique Arroyas (2004)
Welcome to Critical Studies in Improvisation/Études critiques en improvisation, 1
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See Appendix B in the online supplemental material for discussion of a third example from SLANT -
Michael Dessen (2010)
New Polyphonies: Score Streams, Improvisation and TelepresenceLeonardo Music Journal
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D. Lewis (1976)
A New Society for Soil ScientistsSoil Horizons, 17
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George Lewis (2004)
Gittin' to Know Y'all : Improvised Music, Interculturalism and the Racial Imagination, 1
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Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation -
is among the most extensively notated of SLANT's concepts -
(2004)
Lewis , “ Afterword to ‘ Improvised Music after 1950 ’ : The Changing Same , ” in Daniel Fischlin and Ajay Heble -
George Lewis (1996)
Improvised Music after 1950: Afrological and Eurological PerspectivesBlack Music Research Journal, 22
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Afrological and Eurological sociomusical systems are complementary as well as transcultural, leaving room for other actual and potential musicocultural logics
- Publisher
- MIT Press
- Copyright
- Copyright © MIT Press
- ISSN
- 0961-1215
- eISSN
- 1531-4812
- DOI
- 10.1162/lmj_a_01095
- Publisher site
- See Article on Publisher Site
Abstract
The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dialogical improvisative music-making that emerges from multiethnic and multicultural histories of improvised music.
Journal
Leonardo Music Journal – MIT Press
Published: Dec 5, 2020