{"id":5072,"date":"2024-12-07T22:00:34","date_gmt":"2024-12-07T21:00:34","guid":{"rendered":"https:\/\/echoraum.at\/?p=5072"},"modified":"2024-12-01T15:35:24","modified_gmt":"2024-12-01T14:35:24","slug":"perspectives-on-improvisation-2","status":"publish","type":"post","link":"https:\/\/echoraum.at\/site\/perspectives-on-improvisation-2\/","title":{"rendered":"Perspectives on Improvisation"},"content":{"rendered":"

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\u00a9 Kate Lasmane<\/figcaption><\/figure>\n

Perspectives on Improvisation<\/strong><\/p>\n

mit Charlotta Ruth<\/strong> \u00b7\u00a0Thomas Grill<\/strong> \u00b7\u00a0Olivia de Prato<\/strong> \u00b7 Daniel Riegler<\/strong> \u00b7\u00a0Maria Gst\u00e4ttner<\/strong> \u00b7\u00a0Peter Herbert<\/strong><\/p>\n

Improvisation is essential. We improvise in music, dance, writing, cooking, research, and comedy. In fact, we improvise in every aspect of our lives. In this sense, improvisation is not purely an artistic act but a fundamental mode of human action and interaction. Structured behavior is the exception; we structure so that we can improvise. Structure provides guidance, aiding in the creation of improvised material. The late Jeff Pressing referred to this structure as a „referent.“<\/p>\n

Some modes of expression, such as classical music or architecture, rely on a vast collection of referents. Others, like free improvisation, aim to break free from any connection to a referent. However, all forms of expression require some degree of improvisation. Complete freedom is as illusory as a complete lack of structure. Even when we remove any external referent, we still operate within a certain domain\u2014we are still human, with memories, associations, and dreams. Ultimately, we ourselves become the referent that structures our improvisation.<\/p>\n

The presence or absence of a referent can help us understand the nuances of different domains in which improvisation is used. This is why jazz differs from free improvisation, which differs from contemporary dance, research, pedagogy, and so on. Observing these various domains reveals a common thread that transcends context and aesthetic markers\u2013an approach to improvisation that is not confined to any one practice.<\/p>\n

The festival \u201cPerspectives on Improvisation\u201d aims to explore this common thread and uncover the shared elements across diverse practices. From December 5th to 7th, 2024, at Vienna’s echoraum, a group of artists will present both discursive and artistic insights into their specific practices, ranging from electro-acoustic music and dance to artistic research, new music, free improvisation, and pedagogy.<\/p>\n

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Program<\/strong><\/p>\n

Thursday, December 5, 7pm: On Research<\/strong><\/p>\n

Charlotta Ruth<\/strong>: Question Space
\nThomas Grill<\/strong>: Dirty Spaces<\/p>\n

Friday, December 6, 7pm: On New Music<\/strong><\/p>\n

Olivia De Prato<\/strong>: Improvisation Inspired by the Environment and Field Recordings
\nDaniel Riegler<\/strong>: The Sound of Studio Dan<\/p>\n

Saturday, December 7, 7pm: On Pedagogy<\/strong><\/p>\n

Maria Gst\u00e4ttner<\/strong>: Opening, Holding and Letting Go of Spaces
\nPeter Herbert<\/strong>: How Did I Learn\/Study and Possibly Teach (Can One??) Free Improv<\/p>\n

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Charlotta Ruth: Question Space<\/strong><\/p>\n

In this lecture-game we will play with the time and space between question and answer (or the non-answer). Probably not only with words. I will share my thoughts about how the performativity of questions, and specifically research questions allow for generative approaches that create (artistic) thinking realms. Thinking that feeds in and out of non-linguistic matter and create possibilities for things we cannot plan. I also feel like asking: How are questions improvisation?<\/p>\n

Charlotta Ruth (S\/A) plays with time and perception inside choreography and ludic systems. At the center of her practice is a deep fascination for collective thinking and translation of ideas between different media. In 2024 Ruth holds the 1-year working grant from City of Vienna for \u201cChoreografische Spuren & Kettenkreationen\u201d. Since 2017 Ruth is associated with the University of Applied Arts Vienna, where she concluded her PhD in Arts (2022), works as a lecturer at the Angewandte Performance Laboratory and contributes to the research project Outer Woman headed by Cordula Daus FWF PEEK \/ Elise Richter. With Daus she also co-leads Questionology, a project focusing on the art of questioning developed in the formats of participatory environments, online questionnaires, lecture performances, workshops and publications.
\nhttps:\/\/charlottaruth.com<\/a><\/p>\n

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\u00a9 Lisa Truttmann<\/figcaption><\/figure>\n

Thomas Grill: Dirty Spaces<\/strong><\/p>\n

Improvisation, ultimately, is about having trust: in partners, in communication, in processes, in the environment and one\u2019s own ability to deal with it all. For me, there is a irresolvable personal conflict between being drawn to unpredictable situations and the feeling of doubt\u2013of being ill-prepared or overwhelmed.
\nIn my concept of improvisation, openness regarding place and space is fundamental\u2013for my imagination, for taking a position and a perspective, for developing a form of communication. Noises in all forms are invited to join in.<\/p>\n

Thomas Grill works as an artistic and scientific researcher on sound and its context. As a composer and performer, he focuses on concept-oriented sound art, electro-instrumental improvisation and compositions for loudspeakers. He researches and teaches at the University of Music and Performing Arts in Vienna, where he heads the Certificate Program in Electroacoustic and Experimental Music (ELAK) and co-heads the Artistic Research Center (ARC). He is currently heading the artistic research project \u201cSpirits in Complexity\u201d (2024\u20132026). Grill has been awarded with an Honorary Mention of the Prix Ars Electronica, with the Theodor-K\u00f6rner prize, the Award of Excellence of the Austrian Federal Ministry of Education, Science and Research and various work stipends. https:\/\/grrrr.org\/<\/a><\/p>\n

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\u00a9 Andrej Grilc<\/figcaption><\/figure>\n

Olivia De Prato: Improvisation Inspired by the Environment and Field Recordings<\/strong><\/p>\n

Internationally recognized as a soloist as well as a chamber musician, Austro-Italian violinist Olivia De Prato established herself as a passionate performer of contemporary and improvised music, breaking boundaries of the traditional violin repertoire and regularly performs in Europe, South America, China and the United States. In her latest project „I, A.M. – Artist Motherhood Project“ she collaborated with 6 composers\/performers on new pieces inspired by improvisations based on field recordings.<\/p>\n

www.oliviadeprato.com<\/a><\/p>\n

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Daniel Riegler: The Sound of Studio Dan<\/strong><\/p>\n

How improvisation works on a micro and macro level, in musical and organizational matters in Ensemble Studio Dan and how it determines the sound of all productions in every conceivable way.<\/p>\n

Works as a freelance trombonist, ensemble leader and curator of 20th and 21st century music, as well as a composer. He is the founder of the ensemble Studio Dan and co-founder of the artist platform JazzWerkstatt Wien. He has collaborated with George Lewis, Vinko Globokar, Elliott Sharp, Michel Doneda, Klangforum Wien, Ensemble die reihe, SWR as well as Elektro Guzzi, koenigleopold and Dorian Concept, among others. As a composer and ensemble leader, he has received commissions from renowned ensembles and institutions such as Spielst\u00e4tten Graz, ensemble f\u00fcr neue musik z\u00fcrich, NDR Bigband and the Saalfelden Jazz Festival, as well as prizes and scholarships such as the State Scholarship for Composition 2018 and the German Record Critics‘ Award\/Best List 02\/2010. Intensive international concert activity with Studio Dan at festivals, concert halls and clubs including the Kimmel Center in Philadelphia, the ORF musikprotokoll Graz, the Jazzfest Berlin, the Kulturfabrik Kampnagel in Hamburg and the legendary Roulette in Brooklyn\/NYC. He lives in Vienna with cellist Maiken Beer and their two children.<\/p>\n

https:\/\/studiodan.at<\/a><\/p>\n

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\u00a9 Pamela Ru\u00dfmann<\/figcaption><\/figure>\n

Maria Gst\u00e4ttner: Opening, Holding and Letting Go of Spaces<\/strong><\/p>\n

As a teacher in the context of intuitive free improvisation, I face a major challenge: the art of improvisation develops within each person. Established assessment criteria do not work for this type of music-making. Opening up spaces, being a role model and accompanying processes are important methods. Every lesson is an improvisation in itself. My personal aspiration to \u2018always make the best music that is possible at the moment\u2019 also applies in the teaching context. It is a constant development and exploration of the arts.<\/p>\n

Internationally active with bassoon and voice as a soloist, in various ensembles (e.g. Klangforum Wien) and orchestras (Vienna Philharmonic), as well as in free jazz (e.g. sonic fiction orchestra), free improvisation and world music. Numerous world premieres (e.g. Bassoon Sonata F. Cerha) and participation in recordings as well as own productions. As a composer, she is continuously commissioned (e.g. Wien Modern) and awarded scholarships (e.g. State Scholarship for Composition), as well as theatre productions (e.g. Burgtheater Vienna) and interdisciplinary works (e.g. cultural museum Chicago). Senior Artist at the mdw and artistic researcher (Dr. artium) in the field of intuitive improvisation.<\/p>\n

www.magst.at<\/a><\/p>\n

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\u00a9 Wolfgang Gonaus<\/figcaption><\/figure>\n

Peter Herbert: How Did I Learn\/Study and Possibly Teach (Can One??) Free Improv<\/strong><\/p>\n

The term \u201cfree improv\u201d has become a widely used, sometimes abused, term for a form of performing music with a very wide, and often vague range of interpretations. Free improv has a now over 60 years of history, spanning from the Free Jazz tradition of the 60\u2019ies coming from a strong Jazz background to the latest and current sound research practices going way beyond the traditional way of creating music on any instruments. I personally stumbled across free improv by accident in the late 80\u2019ies in NYC and have practiced and performed it ever since. Can one learn\/study free improv, can one teach free improv in a university context, what would be the parameters and structures for a fruitful learning experience? A lot of question marks that I will try to address in this lecture – performance.<\/p>\n

Born leap day 1960 in Bludenz\/Austria, grew up in Bregenz with the ideas of the \u201868ies, HTL (electrical engineering), classical family background in a household without TV, semi-professional free climber from \u201974-81, classical\/Jazz studies upright bass in Graz from \u201981 \u2013 \u201986, with a Fullbright scholarship to Boston\u2019s \u2018Berklee College of Music\u2019 (87-89), got stuck in NYC as freelance Jazz bassist for 14 years afterwards. There did everything from shopping mall Christmas Carols to Carnegie Hall. The list of collaborations is endless, more than 180 CD\/vinyl productions, self-taught composer. Since 2007 teaching at the JIM, Bruckneruni Linz, ensembles, composition and upright bass, now living and performing in Vienna and Paris. www.peterherbert.at<\/a><\/p>\n

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  Perspectives on Improvisation mit Charlotta Ruth \u00b7\u00a0Thomas Grill \u00b7\u00a0Olivia de Prato \u00b7 Daniel Riegler \u00b7\u00a0Maria Gst\u00e4ttner \u00b7\u00a0Peter Herbert Improvisation is essential. We improvise in music, dance, writing, cooking, research, and comedy. In fact, we improvise in every aspect of our lives. In this sense, improvisation is not purely an artistic act but a fundamental […]<\/p>\n","protected":false},"author":2,"featured_media":5073,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-5072","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programm"],"acf":[],"_links":{"self":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/comments?post=5072"}],"version-history":[{"count":0,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5072\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media\/5073"}],"wp:attachment":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media?parent=5072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/categories?post=5072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/tags?post=5072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}