Linley Hamilton: Making other Arrangements
- Submitting institution
-
University of Ulster
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 86160270
- Type
- L - Artefact
- Location
- Ireland
- Open access status
- -
- Month of production
- April
- Year of production
- 2018
- URL
-
https://ulster.sharepoint.com/:b:/s/REF2021/Eebgv4tfK0pNha1i40ClKUsBESCu4Hd8Pme7Go1002o__Q?e=Bc7MnF
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
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D - Arts practices, practice-as-research
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Context:
This jazz album features a 19-piece ensemble including strings, with arrangements focused on creating space for contextually-based improvisations which demonstrate melodic approaches to target tones within the approach area, dynamic contouring, and the application of complex musical constructions (Toiviainen, 1995) displaying specific examples of musicality and reinforcing resolved phrases and sonorities.
Methodology and Insights:
The work of Dreyfus and Sudnow (2001) on skill development informed the practice methodology in formulating processes and aiding analyses of transcriptions. Restrictive practice enabled development within isolated areas, seeking personal growth by marginal gains (Syed, 2010) in targeted improvement around applying linguistic models to music. The work of Bjerstedt (2014) and Sawyer (2009), regarding narrative techniques, and Torrance and Schuman’s (2018) work on improvisation and cognitive science, guided transcription analysis of reflexive performance from internalized procedure.
An original strategy for dynamic contouring (informed by conversations with my Ulster colleague Dr Shaun Ryan in 2017) saw the development of a numbering system for planning dynamics across a line. Numbers are applied from 1-10, pp-ff, detailing linear dynamic contour, and reinforcing the intent of improvisatory statements performed. Dynamic contouring enhances the effect of tension and release (Jarvinen, 1999; Campbell, 2015) as evidenced in After the Love has Gone, Brigitte and Here’s to Life. In Here’s to Life, starting at 2 minutes, the opening statement climbs from 2-3, A to F, rising to an 8, the G quaver bar 2 over the C13, and falling to a 3 on the C, bar 4, the target note 9 and phrase end-note on the Bbmaj7.
I designed specific dynamic contouring approaches highlighting impacts of tension and release, enhanced by targeted restrictive practice within linear statements which resolve to target-tones (Crook, 1999), creating a personalised approach to narrative, stimulated by generated motivic ideas.
Dissemination:
CD, TeddyD records, 24th April, 2018.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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