elstaffe's Reviews > Perpetual Frontier: The Properties of Free Music

Perpetual Frontier by Joe Morris
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's review
Sep 06, 2012

did not like it
Read in October, 2012

Need some time on this one. Real review to come soon.

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Reading Progress

09/06/2012 page 1
09/06/2012 page 18
10.0% "The ideas presented are interesting (or at least, promise to be interesting), but oh, the grammar. It makes my head hurt/me read every sentence at least twice. I might be able to understand this better were it an audiobook, rather than what appears to be thoughts written as they came."
09/07/2012 page 29
16.0% "My brain hurts from reading this. As I said before, interesting ideas lurk within, but it is hard to find them amidst the somewhat disjointed and loosely organized sentences and paragraphs. My brain does hop around like this sometimes, but I would never force anyone to read my thoughts as they came."
09/15/2012 page 40
22.0% ""Originality requires artistic risk taking. Without the proven result of a previously made methodology as a foundation, an artist must prove the value of their own result. Any percentage of this made in any area using these properties is a victory of invention" (31). Perfect example of why this book is driving me slowly insane. [cont'd in next status]"
09/15/2012 page 40
22.0% "[cont'd] The first two sentences of that quotation: perfectly understandable, coherent, interesting enough. The last sentence: WTF? Too many unlinked demonstratives. Head. Desk."
10/03/2012 page 58
32.0% ""Here the template suggests how the melody might be expanded or referred to in improvisation using intervallic relationships and/or rhythmic accents" (53-54). See, this is what I want to be reading."
10/03/2012 page 58
32.0% ""The expectation that results have more value in improvisation than planning does, help a player to trust in the process. Planning comes in the way the performance material-the composed material and the operational methodology rendered in strategies that will be used to process it" (56). This...this. Is most of what is here."
10/18/2012 page 58
32.0% ""In jazz music that is based on harmonic progressions, the form must be followed and therefore the rhythm section is required to provide support while adhering to the form, it, not the soloist is the conductor/bandleader not the soloist" (90). Sic."
10/20/2012 page 93
51.0% ""The properties of free music contain variable and exacting options" (73)"
10/23/2012 page 95
53.0% ""The improvisation on these melodic structures (templates) are a blend of intervallic melodic statements (vertical) and scalar (linear) statements with broad use of sub-division, repetition, inversion, modulation, extended techniques--especially as multi-phonics, whistle tones, and a myriad of timbre effects" (95). Cannot...follow...sentence structure...brain...ouch..."
10/23/2012 page 96
53.0% ""Language Types is a graphic rendering of 12 ways that Braxton views as the typical constructs of a line of notes" (96). Hwha?"
10/23/2012 page 98
54.0% ""While the composite element of these works has resulted in new arenas for the Tri-Axiom Theory methodology, and the improvisational expansion possibilities has also expanded within the composite framework, the particulars in the functionality of the melodic structure (template)-and their roles as examples in comparison with the other operational methodologies-remain the same" (96). I wanna but just can't parse this."
10/24/2012 page 105
58.0% ""These later forms often synthesize elements from all of the various wings of European free improvisation, or rely on a more strict interpretation of one or fewer parts of the whole operational methodology" (104-105). One or fewer? Like...half a part? Or no parts? Or what?"
10/24/2012 page 107
59.0% ""Answers were done in writing via correspondence. They are edited only for punctuation" (107). Uh oh."
10/24/2012 page 144
80.0% ""'I write for the players and also for the music/ the very best musicians don't need any present form they can create a fully developed piece of music without any present material. Working in the area of Spontaneous composition/improvisation that includes all of their experience of playing music, which includes telepathic and intuitive skills'" (quote from William Parker questionnaire, p. 144)."
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