Vous l'avez déjà ?
No Sound Is Innocent: Amm and the Practice of Self-Invention Meta-Musical Narratives Essays (Anglais) Broché – 10 mai 1995
Voir les formats et éditions Masquer les autres formats et éditions
|Neuf à partir de||Occasion à partir de|
Description du produit
Book by Prevost Edwin
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.
Détails sur le produit
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Il n'y a pour l'instant aucun commentaire client.
|5 étoiles (0%)|
|4 étoiles (0%)|
|3 étoiles (0%)|
|2 étoiles (0%)|
|1 étoile (0%)|
Commentaires client les plus utiles sur Amazon.com
Amazon.com: 2 commentaires
banquet for thought
16 juin 2005 - Publié sur Amazon.com
As western music attempts to break out of the constrictions imposed on it by the traditions of our culture, not much has been offered verbally as a positive basis to work from. Edwin Prevost examines and explains what is generally considered invisible and inexplicable - the deeper implications (musical, cultural, and social) of improvising, of what it means to make music. Well-written and well-reasoned, this is the only book of its kind I have come across. In some future decade this may prove to be a turning point in how we think of music (equivalent in a way to 4'33", Pierrot Lunaire, and Free Jazz), a step taken when the "avant-garde" stopped seeing itself as a reactive entity and became a pro-active one instead.
although widely practiced improvisation is seldom discussed
9 juin 1998 - Publié sur Amazon.com
15 personnes ont trouvé cela utile.
If you are curious about improvisation by white musicians it seems there is not much to read. The world of jazz usually absorbs all the discussion. Well maybe the reason is the music Mr.Prevost performs with AMM is not entirely marketable materials. AMM is a London based ensemble began in the late Sixties.What we find in "No Sound is Innocent" is the thoughts,reflections on the experience in dealing with sounds directly. This is where the "ethics" I beleive emanates from. Something Cornelius Cardew( a founding AMM member) certainly practiced. Prevost has such reverance for sound, how it is produced that we become engaged in his agenda . For instance he speaks about the twisting of a mouthpiece,turning a plectrum of a string instrument. And we also find historical data. Ancient Chinese armies would frighten their oncoming enemies by thunderous metal sounds, Many times averting a massacre.There is a complete history of AMM, an ensemble whose sound/timbre actually evolves over the years every bit as energized as the best jazz,but not quite as obvious, and as timbrally complex as the best we see/hear from Boulez's IRCAM in Paris. If you improvise music, piano or string or prepared guitar, and always wondered where a context resides it is here in this book. At first I thought Prevost would give us a glimpse at an AMM rehearsal, but dealing directly with sound in a live performance is the philosophy here, anathema to composition ( a profanity in this book ).This book is like a diary of sound and associations in creating it in the real live world, no abstractions no images, no bagatelles or nocturnes. And then this leaves us with a natural reverance to sound, like saving the torture of animals today from the monolith science/cosmetic conglomerates. Prevost and AMM are rescuing sound from the vagaries and concoctions of the marketplace. Mr Prevost with AMM has equally gifted accomplices in prepared guitarist, electronic/monger Keith Rowe, and the remarkable pianist John Tilbury who has ! been known to warm-up the mostly coldly abstract music the avant-garde has produced. We learn where AMM's source for their sounds/imagination inhabits from natural sounds, thunder storms, the breaking of huge ice sheets.(Vancouver).Prevost describes these situations and finds a fascinating context to make music. We never sense the history of music is around the corner, always a fresh untarnished approach to sounds and their creation. It's a rarity to find this much reverance for sound in an age of homogenized pablum serious musicians seemed magnitized toward these days. including the best of those who resemble the AMM agenda. But then this book is a source for collective reflection and a musical/ radical/ democracy., which I'd say is long in coming and Prevost's ultimate contribution toward creativity in today's new music scene.