A similar situation is described by free-jazz musician Ornette Coleman, who observed that “the jazz musician is probably the only person for whom the composer is not a very interesting individual, in the sense that he prefers to destroy what the composer writes or says” (Coleman in Derrida, 2004, p. In Modo Recordar, Modo Olvidar, to make another comparison, the improvisations are supposed to be a direct continuation of the notated material: after the players have assimilated the notated ideas, they are required to improvise in a given “style.” In hasBara, on the other hand, the musicians are asked to move away from the notated material, towards indeterminacy – precisely what the notation does not convey. In that piece, the electronic soundtrack presents a reference point which is absolutely fixed and around which fields of freedom are woven. The role improvisation plays in hasBara is very different to the role it plays in. This particular combination of undirected improvisation and notation, between which connections are formed during the performance, brings in an additional perspective to the freedom-and-fixity theme: a musical space which is shaped by notation, and “warped” by the gravitational force of freedom in its purest and most abstract form. The reflections I present here are based on one essential difference between notation and improvisation: while the former contains explicit directions for a performance – composed material which implies a certain musical fixity – the latter remains undefined, unexplained, “blank.” Improvisation, in the context of this work, should be understood as a compositional void, left open for the creation, in real-time, of unforeseen musical elements. The musicians are asked to orient the performance away from the notated ideas by improvising or, in the opposite direction, by gradually “surrendering” to the guidance of the score. My composition hasBara deals with notation and improvisation as two contrasting elements. The resources for each of the 'fully-resourced' KS3 units are available to 'full site subscribers' from the "Unit Preview & Download" page links below.HasBara, performed by ensemble MUTU (Nuthuis, The Hague, September 2016) 1. Samples from each unit, in scrolling pop-up galleries, can be seen by hovering over the unit images below as well as by visiting the "Unit Preview & Download" pages. These include: Teacher Schemes of Work and Lesson Pathways, Knowledge Organisers, DOITNOW and Plenary Review Activities, 5 Minutes Silent Reading Tasks, Cover and Homework Activities, Worksheets, Songs, Scores and Presentations. The units follow the Musical Contexts Key Stage 3 Learning Journey (shown right, click for further details).Įach 'fully-resourced' unit comes with resources, tasks and activities to supplement:Ĭritical Engagement: Listening and Appraising The Musical Contexts "Fully-Resourced" Secondary/KS3 Music Curriculum aims to provide a unit-based approach that is 'ambitious, well-sequenced and which leads to good musical outcomes for all pupils', to provide 'good impact as seen by secure and incremental learning of the technical, constructive and expressive knowledge that pupils need for their future participation in and enjoyment of music'.
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