Jazz und Komposition

Jazz and composition? At first glance, these are two different things. Jazz is known for living off improvisation—and that only seems to fit into the larger framework of composition history if you think of it as a kind of "spontaneous composition." But even though the great jazz musicians have always been praised for their improvisational virtuosity and inventiveness, composition plays a not insignificant role in their art. The 2nd Darmstadt Jazz Forum, organized by the Jazz Institute Darmstadt in September 1991, was dedicated to this compositional element. In addition to historical considerations on the reception of jazz elements as "couleur exotique" in the works of European composers or on the significance and impact of the Third Stream of the 1950s and 1960s, the contributions focused primarily on the current approach of jazz musicians to the medium of composition.

From the contents: J. Bradford Robinson: On the reception of jazz in the Weimar period. A stylistic-historical hunt for a rhythmic cliché. Hans-Ulrich Engelmann and jazz Lutz Neitzert: The composer, his work, and the subversive powers of extemporization. On the problematic relationship between bourgeois musical culture and improvised music Gerhard Putschögl: John Coltrane: Structural organization as oral composition Wolfram Knauer: Charles Mingus. Jazz composition after Ellington Peter Niklas Wilson: Musical system philosophy after its end. Anthony Braxton's musical metaphysics Ekkehard Jost: Types of jazz musical composition Ran Blake: Third Stream – Priority of the ear Hermann Keller: Complex processes – simple foundations. What from the craft of composition goes into my improvisations Dieter Glawischnig: Communications from musical practice Ulrich Kurth: On the role of string instruments. Compositions by Tony Oxley, Peter Herborn, and Mark Dresser Bert Noglik: Composition and improvisation – Notes on a tense relationship.

contents