Tuesday, 18 April 2017

Jazz Research

In my previous post about Richter's work after John Cage at the Tate Modern I identified a method of translating music into art, using the same compositional strategy or philosophy as the composer to create the artwork. In this example the shared philosophy involved the use of controlled chance. On reflection, in many art forms where there appears to be a high degree of chance utilized this is often not the case. Jazz is a good example. There are many rules and parameters which govern the improvisation in jazz.

Three methods of Jazz improvisation are melodic, harmonic and motivic. I explored the differences between these visually. I designed a motif to represent the main tune of the piece and used that as the basis of these explorations. This motif is partly based on the shape of the tune but also is similar to articulation notation symbols.

This gave me some ideas for motifs and shapes.
Going back to my research on Richter, to try and compose my artwork in a shared philosophy as Mingus, I need to understand his artistic intention:

Planned structure x number measures per section
Wrote head
Allocated solos
Planned ensemble sections
Planned chord progression

Richter took 1 aspect of artistic intention, or general artistic intention, not specifics like this. This could be:

Framework plus free improvised aspect, framework could be linocut improvisation mono print
I could make a timeline into a box or circle, improvise within it? I can improvise in art as well as in music.

I constructed a timeline and used this to make some structures which I filled with colors and textures based on the music.

These were a bit too rigid. One thing I did notice is that the double bass is the structure, it begins and ends the piece and drives and supports it thought and may be a better way to represent the structure.

No comments:

Post a Comment