Spence Alister
Lecturer in Music, School of Arts and Media, The Faculty of Arts, Design and Architecture, University of New South Wales, Sydney, NSW, Australia.
Front Psychol. 2021 Mar 23;12:611536. doi: 10.3389/fpsyg.2021.611536. eCollection 2021.
Among improvisers and composers today there is a resurgence of interest in experimental music (EM) practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose the (ECIC) as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; both being important historical movements leading to the formulation of ideas around contingent musical practices. The ECIC model is outlined as providing a means to observe the interactions and continua between composition and improvisation on the one hand and more or less experimentally conceived music on the other. This model is applied as an investigative and comparative tool to three distinctive works in order to illuminate the presence or otherwise of various experimental interactions within them. The works are: "Spiral Staircase" - a composition by written by Satoko Fujii in late 2007, John Cage's , and a performance of "My Favorite Things" by the John Coltrane Quartet. Further possible applications of the ECIC are suggested in the conclusion.
在当今的即兴演奏者和作曲家中，对欢迎偶然性的实验音乐（EM）实践的兴趣再度兴起；将与不可预见的情况互动视为音乐制作过程的重要组成部分，以及一种声音探索的手段。我提出“偶然音乐互动连续体”（ECIC）作为一个模型，用以更好地理解这些实验性音乐作品。简要回顾了20世纪50年代和60年代的历史实验音乐运动，并将爵士传统视为重要的主角；这两者都是导致围绕偶然音乐实践形成观念的重要历史运动。ECIC模型被概述为一种手段，一方面用于观察作曲与即兴演奏之间的相互作用和连续体，另一方面用于观察或多或少经过实验构思的音乐。该模型被用作一种调查和比较工具，应用于三部独特的作品，以阐明其中各种实验性相互作用的存在与否。这些作品是：藤井聪子2007年末创作的《螺旋楼梯》、约翰·凯奇的《4分33秒》，以及约翰·柯川四重奏演奏的《我最喜爱的事物》。结论部分提出了ECIC进一步可能的应用。
