Jazz e microtonalità, part 1

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asemic writing, abstract calligraphy painting by Matox ( Nuno de Matos), Source Own work Author Matoxvisual, Creative Commons Attribution 3.0 Unported license.

La microtonalità nel jazz comincia ad avere un peso quando lo stile free comincia a prendere consistenza: sono soprattutto i musicisti di strumenti a fiato che vogliono percorrere nuovi sentieri, a partire da Ornette Coleman, Albert Ayler, Booker Little, Eric Dolphy e soprattutto John Coltrane. Ciò che era disponibile per loro era un sistema temperato, ricavato con regole determinate ma già pesantemente messo

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Articolo precedenteBernhard Lang: ParZeFool
Articolo successivoJazz e microtonalità, part 2
Music writer and founder of Percorsi Musicali, a multi-genre magazine focused on contemporary music and improvisation's forms. He wrote hundreads of essays and reviews of cds and books (over 1500 articles) and his work is widely appreciated in Italy and abroad via quotations, texts' translations, biographies, liner notes for prestigious composers, musicians and labels. He provides a modern conception of musical listening, which meditates on history, on the aesthetic seductions of sounds, on interdisciplinary relationships with other arts and cognitive sciences. He is also a graduate in Economics.