Electric Cowboy Cacophony / A performance and recording fusing musical elements from the classical, rock, country, and free electronic tradititions

Electric Cowboy Cacophony / 融合古典、摇滚、乡村和自由电子传统音乐元素的表演和录音

• 批准号: AH/F01662X/1
• 负责人: Michael Edwards
• 金额: $ 2万
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF01662X%2F1
• 关键词: Electric; Cowboy; Cacophony; performance; recording

There has to be some degree, not just of unfamiliarity, but incompatibility [with a partner]. Otherwise, what are you improvising for?' (Derek Bailey)In making music, how is the methodology of classically-trained composers different from that of rock/pop/jazz/improvising musicians? There is of course the classical approach of composing in advance of the performance, using manuscript paper and traditional notation: the tension between slowly-wrought formal structure and improvised musical development then. There is also the distinction between composer and performer, which in the case of the pop/rock musician is often one and the same person but in the classical tradition more frequently is not. Nevertheless, by no means is all rock/pop/jazz music improvised: some of it is composed with or performed from traditional notation. Apart from this though, are the creative considerations really so at odds? Do musicians with radically different musical backgrounds--so different apparently that the Germans refer to music by composers out of the classical tradition as 'Serious Music' ('Ernste Musik') and that from the rock/pop/jazz tradition only, and quite pejoratively, as 'Entertainment Music' ('Unterhaltungs Musik')--do these musicians really think so differently about making music as we might perhaps believe? Scores and notation aside on the one hand, the three-minute song with a three-chord trick aside on the other, aren't many of us concerned with similar musical characteristics: texture, mood, musical voice exchange, sonority... Or, when moving in the areas of avant-garde classical, jazz, rock, free improvised, and pop music, isn't there perhaps more in common than not, in the intention of the music at least, if not always in the sound?Electric Cowboy Cacophony is both a musical group and a concert performance. It comprises four musicians from very different backgrounds: Myself (UK), classical composer and computer musician; Paul Elwood (USA), composer and banjoist (country/folk/avant-garde); Jean-Marc Montera (France), electric guitarist and Chitarra player (rock, free improvisation); and Karin Schistek (Austria/UK), classical pianist and improvisor.We first came together in Marseille, France, in February 2006 at the Groupe de Recherche et d'Improvisation Musicales (www.grim-marseille.com/) on the invitation of Jean-Marc Montera, GRIM's director. A day spent recording was followed later by a concert, both of which opened up enormous opportunity for meaningful musical exchange.Playing together raised many questions, several of which are posed above. Answering these questions in this group context leads to broader steps towards bridging the gap between classical and pop/rock/jazz/improvised music, a gap which in the current cultural and educational climate is no longer tenable; a gap which is probably more political than musical; a gap which when bridged can enrich the musical experience of all.A performance and recording project is proposed to explore these questions and find expressive modes of interaction between the group's members and aesthetics. We aim to work for a week in Marseille and develop enough musical material for a concert and DVD recording (c. one hour's music). The recording will be made at GRIM but mixed, edited, and mastered in Edinburgh. The DVD will be pressed and released on the sumtone label. Two concerts will then be presented, one in Marseille, the other in Edinburgh. A web-page detailing the work's progress and the results (in the form of MP3 files) will be made available also.N.B. My musical instrument in this project is mainly the computer. Performances of my compositions with computer have to date been in a pre-determined and pre-programmed manner. I have lately reconfigured my performance software to allow integration into more open structures (improvisation) and intend to use and explore the potential of this software in the proposed project.

必须有某种程度的不熟悉，但不兼容[与合作伙伴]。不然，你即兴表演什么？（德里克·贝利）在创作音乐时，受过古典音乐训练的作曲家的方法与摇滚/流行/爵士/即兴音乐家的方法有何不同？当然，还有在演出前使用手稿纸和传统记谱法进行作曲的经典方法：缓慢形成的正式结构和即兴音乐发展之间的紧张关系。作曲家和演奏家之间也有区别，在流行/摇滚音乐家的情况下，他们往往是同一个人，但在古典音乐传统中，他们往往不是。然而，绝不是所有的摇滚/流行/爵士音乐都是即兴创作的：其中一些是用传统的记谱法创作或表演的。除此之外，创作上的考虑真的如此不一致吗？音乐背景截然不同的音乐家们--显然如此不同，以至于德国人把古典传统之外的作曲家的音乐称为“严肃音乐”（“恩斯特音乐”），而把摇滚/流行/爵士传统的音乐称为“娱乐音乐”（“Unterhaltungs音乐”），这是相当轻蔑的--这些音乐家真的像我们可能相信的那样对音乐创作有如此不同的想法吗？一方面，除了乐谱和记谱，另一方面，除了三分钟的歌曲和三个和弦的技巧，我们中没有多少人关心类似的音乐特征：织体，情绪，音乐的声音交换，响亮度......或者，当在前卫古典音乐、爵士乐、摇滚乐、自由即兴音乐和流行音乐领域移动时，如果不总是在声音中，至少在音乐的意图上，难道不是有更多的共同点吗？Electric Cowboy Cacophony既是一个音乐团体，也是一场音乐会。它由四位来自不同背景的音乐家组成：Myself（英国），古典作曲家和计算机音乐家; Paul埃尔伍德（美国），作曲家和班卓琴演奏家（乡村/民谣/前卫）; Jean-Marc Montera（法国），电吉他手和Chitarra演奏家（摇滚，自由即兴）;和卡琳·卡琳泰克（奥地利/英国），古典钢琴家和即兴演奏家。我们第一次聚在一起是在法国的马赛，2006年2月，应GRIM总监Jean-Marc Montera的邀请，在Groupe de Recherche et d 'Improvisation Musicales（www.grim-marseille.com/）。录制了一天的唱片之后，又举办了一场音乐会，这两场音乐会都为有意义的音乐交流提供了巨大的机会。一起演奏带来了许多问题，其中一些问题已经在上面提出。在这一群体的背景下探讨这些问题，将导致采取更广泛的步骤，弥合古典音乐与流行音乐/摇滚乐/爵士乐/即兴音乐之间的差距，这种差距在当前的文化和教育环境中已不再成立;这种差距可能更多地是政治性的，而不是音乐性的;这是一个跨越的鸿沟，当它被弥合时，可以丰富所有人的音乐体验。一个表演和录音项目被提出来探索这些问题，并找到表达模式团体成员和美学之间的互动。我们的目标是在马赛工作一个星期，为音乐会和DVD录制开发足够的音乐素材（c。一小时的音乐）。录音将在GRIM制作，但在爱丁堡混合，编辑和掌握。DVD将按下并在sumtone标签上释放。两场音乐会将在马赛和爱丁堡举行。还将提供一个网页，详细说明工作进展情况和结果（以MP3文件的形式）。我在这个项目中的乐器主要是电脑。到目前为止，我的作品在电脑上的表现都是预先确定和预先编程的。我最近重新配置了我的性能软件，以允许集成到更开放的结构（即兴），并打算在拟议的项目中使用和探索该软件的潜力。

项目成果

shark piano

鲨鱼钢琴

• 发表时间: 2008
• 期刊: Sumtone.com
• 作者: Edwards, M

Electric Cowboy Cacophony

电动牛仔刺耳的声音

• 发表时间: 2008
• 期刊: http://people.ace.ed.ac.uk/staff/medward2/ecc/electric-cowboy-cacophony.pdf
• 作者: Edwards, M

Electric Cowboy Cacophony A Project for Cross-Genre Free Improvisation1

电动牛仔杂音 跨流派自由即兴创作项目1

• 作者: Michael Edwards (Author)