Linley Hamilton: For the Record
- Submitting institution
-
University of Ulster
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 86160274
- Type
- L - Artefact
- Location
- Ireland
- Open access status
- -
- Month of production
- March
- Year of production
- 2020
- URL
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https://ulster.sharepoint.com/:b:/s/REF2021/EYwXX_-ZbahKrmSdrhCcI8gBP5uAUYwKe1k6yresp2cXEQ?e=KfXXec
- 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
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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
- Aims
'For the Record' investigates improvisatory techniques involving the ‘vertical’ implementation of ideas surrounding harmonic anticipation (Stewart, 2016), using the improvisatory language of the upcoming chord to maintain flow and thematically develop harmonic tension and release, serving as a motivic cellular approach within ‘horizontal’ improvisation.
Context and Methodology
I have researched the vertical implementation of tension devices applied to horizontally-devised improvisations over pre-composed structures. This involves resolving tension within phrases, using target notes (Coker, 1991, Crook, 2019) to focus the resolution (Wilf, 2011) placed on downbeats, but also on stronger anticipations to downbeats, marking out the conclusion of phrases (as in bars 3, 6 and 8 of ‘Right Angle’). The target-notes define the aural landscape of the melodic interpretation; leaving space before the target-notes defines significant approach areas in which tension devices are deployed.
Findings
In my approach, musical intention is expressed through assertive repetition of thematic ideas, harmonically transformed as tension/release devices that are anticipated and delayed, the intent demonstrating governance of phrasing over harmony, and grammar over vocabulary, as in ‘Holly’s Moment’ bar 14, Origin bar 20, and 23, 29 of ‘Mo’ Hip’, informed by research on grammatical constructions in jazz narrative (Middleton, 2015; Su Ching Hseih, 2012; Langacker, 2008). This is also informed by broader concepts of generative grammars, musical linearity following functional patterns of narrative, intent through repetition of motivic ideas, integrating these into a ‘narrative of the approach area’. The process combines rhythmic, harmonic and linguistic-style devices within the approach area, leading to an identifiable improvisatory style featuring personalised motivic tension devices characterised by angularity and conforming to thematic structures (bars 5-29 of ‘Right Angle’).
Dissemination
Released on TeddyD records, March 15th, 2020.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -