Hostname: page-component-848d4c4894-p2v8j Total loading time: 0 Render date: 2024-06-08T04:21:17.590Z Has data issue: false hasContentIssue false
  • English
  • Français

Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama

Published online by Cambridge University Press:  18 January 2023

Lauri Hyvärinen
Lauri Hyvärinen*
Affiliation:
Musician, improviser, Vantaa, Finland
*
Email: hyvarinen.lauri@gmail.com
Get access Rights & Permissions [Opens in a new window]

Abstract

This article will examine the music of two improvisation scenes – Seoul’s ‘Dotolim’ and Tokyo’s onkyô – with a particular focus on their use of gesture and texture. The article centres on an analysis of a trio performance by Jin Sangtae, Hong Chulki and Tetuzi Akiyama, which effectively brings these two musical communities together in a collaborative performance. This analysis demonstrates that focusing on gesture and texture can help in perceiving essential aspects of an improvised performance, including understanding strategic modes of listening and interplay, musical structural developments (both micro and macro) as well as identifying applied roles of instrumental technique and approach.

Type
Article
Information
Organised Sound , Volume 27 , Issue 2: The Sonic and the Electronic in Improvisation, Part 2 , August 2022 , pp. 156 - 163
Check for updates
Copyright
© The Author(s), 2023. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Bell, C. 2003. Off Site: Japanese Whispers. The Wire 233: 38–45.Google Scholar
Blažanović, M. 2012. Echtzeitmusik: The Social and Discursive Contexts of a Contemporary Music Scene. Doctoral dissertation, Humboldt-Universität zu Berlin.Google Scholar
Borgo, D. 2005. Sync or Swarm. Improvising Music in a Complex Age. New York and London: Continuum.Google Scholar
Brooks, A. 2014. A Radical Idiom: Style and Meaning in the Guitar Music of Derek Bailey and Richard Barrett and Energy Shapes, an Original Composition for Electric Guitar and Electronic Sounds. Doctoral dissertation, University of Pittsburgh.Google Scholar
Callingham, A. 2007. Spontaneous Music: The First Generation of British Free Improvisers. Doctoral dissertation, University of Huddersfield.Google Scholar
Cobussen, M. 2017. The Field of Musical Improvisation. Leiden: Leiden University Press.CrossRefGoogle Scholar
Costa, R. 2011. Free Musical Improvisation and the Philosophy of Gilles Deleuze. Perspectives of New Music 49(1): 127–42.Google Scholar
De Menezes, J. 2010. Creative Process in Free Improvisation. Master’s thesis, University of Sheffield.Google Scholar
Della Faille, D. and Fermont, C. 2016. What is Noise Music? An Attempt at an Anti-Sexist and Anti-Colonial Definition. In Fermont, C. and della Faille, D. (eds.) Not Your World Music: Noise in South East Asia. Berlin and Ottawa: Syrphe and Hushush, 15–32.Google Scholar
Denzler, B. and Guionnet, J.-L. (eds.) 2021. The Practice of Musical Improvisation: Dialogues with Contemporary Musical Improvisers. London and New York: Bloomsbury Academic.Google Scholar
닻올림 dotolim. n.d. www.dotolim.com (accessed 28 March 2022).Google Scholar
Fermont, C. and della Faille, D. (eds.) 2016. Not Your World Music: Noise in South East Asia. Berlin and Ottawa: Syrphe and Hushush.Google Scholar
Gleason, S. 2015. Analysis as Improvisation: A Phenomenology of Otomo Yoshihide’s Anode 2. Perspectives of New Music 53(1): 121–41.Google Scholar
Hagan, K. 2017. Textural Composition: Aesthetics, Techniques, and Spatialization for High-Density Loudspeakers.Computer Music Journal 41(1): 34–45.Google Scholar
Hegarty, P. 2007: Noise/Music. A History. New York and London: Bloomsbury.Google Scholar
Hickey, M. 2015. Learning from the Experts: A Study of Free-Improvisation Pedagogues in University Settings. Journal of Research in Music Education 62(4): 425–45.Google Scholar
Hong Chulki. n.d. www.balloonnneedle.com/chulkien.html (accessed 27 March 2022).Google Scholar
Hutchinson, I.-J. 2017. Seoul and Chuncheon. The Wire 395: 18–19.Google Scholar
진상태 Jin Sangtae. n.d. popmusic25.com/?page_id=109 (accessed 27 March 2022).Google Scholar
Josel, S. and Tsao, M. 2014. The Techniques of Guitar Playing. Kassel: Bärenreiter.Google Scholar
Lerdahl, F. 1989. Atonal Prolongational Structure. Contemporary Music Review 4(1): 65–87.CrossRefGoogle Scholar
Novak, D. 2010. Playing Off Site: The Untranslation of Onkyô. Asian Music 41(1): 36–59.Google Scholar
Novak, D. 2013. Japanoise. Music at the Edge of Circulation. Durham, NC: Duke University Press.Google Scholar
Piekut, B. and Lewis, G. (eds.) 2016a. The Oxford Handbook of Critical Improvisation Studies, Volume 1. Oxford: Oxford University Press.Google Scholar
Piekut, B. and Lewis, G. (eds.) 2016b. The Oxford Handbook of Critical Improvisation Studies, Volume 2. Oxford: Oxford University Press.Google Scholar
Plourde, L. 2008. Disciplined Listening in Tokyo: Onkyô and Non-Intentional Sounds. Ethnomusicology 52(2): 270–95.CrossRefGoogle Scholar
Roe, N. 2010. Seoul Music. The Wire 315: 34–41.Google Scholar
Scott, R. 2014. Free Improvisation and Nothing: From the Tactics of Escape to a Bastard Science. ACT – Zeitschrift für Musik & Performance 2014/5. www.act.uni-bayreuth.de/de/archiv/201405/02_Scott_FreeImprovisation/index.html (accessed April 25 2022).Google Scholar
Smalley, D. 1997. Spectromorphology: Explaining Sound-Shapes. Organised Sound 2(2): 107–26.CrossRefGoogle Scholar
Smalley, D. 2007. Space-form and Acousmatic Image. Organised Sound 12(1): 35–58.Google Scholar
Stein, L. 1979. Structure & Style. The Study and Analysis of Musical Forms. Evanston, IL: Summy-Birchard Music.Google Scholar
Toop, D. 2016. Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970. London and New York: Bloomsbury.Google Scholar
Van Nort, D., Oliveros, P. and Braasch, J. 2010. Developing Systems for Improvisation Based on Listening. Proceedings of the 2010 International Computer Music Conference (ICMC 2010), New York, 1–5 June.Google Scholar

DISCOGRAPHY

Hong, C., Akiyama, T. and Jin, S. 2014. Hong Chulki, Tetuzi Akiyama, Jin Sangtae. Seoul: Dotolim Live Series, Dotolim Live Series_01.Google Scholar

VIDEOGRAPHY

연주회 dotolim. 2011.닻올림 연주회 dotolim concert series_14 Tetuzi Akiyama, 홍철기 Hong Chulki and 진상태 Jin Sangtae. https://youtu.be/Lh3kq1oTIh4 (accessed 27 March 2022).Google Scholar