| Abstract [eng] |
The aim of this of the thesis Guitar Player Derek Bailey: An improvisational Method Analysis and Application is to examine Derek Bailey’s person, the reasons which led him to play that sort of music, that he plays. Furthermore to analyse his musical career, and his playing style in order to expand the reader’s knowledge of how free improvised music musicians work in general. In addition the thesis gives suggestions to the reader of what to practice in order to play free improvisation, regardless of your given instrument or background. The graduation thesis is composed of three chapters. Each of them dealing with different aspects of Derek Bailey’s life as a free improvised music musician. Chapter 1 is an introduction of the musical/historical/cultural origins of free improvised music. The first chapter is divided in to 5 parts. Part 1 defines what free improvisation is in general. Part 2 describes the changes in technology, which made improvisation in general to become more important than before. Part 3 gives a brief history of jazz improvised music, which is one of the roots of improvised music. Part 4 describes the context of modernist classical music, and the aesthetics which were used by improvisers in various ways to expand their improvisatory vocabulary. Part 5 describes the innovations of the composer John Cage, who introduced a lot of improvisation to academic music, which gave new ideas both to classical musicians and free jazz improvisers. Chapter 2 is a brief synopsis of Derek Bailey’s musical Career. It is divided in to 5 parts. Part 1 examines Derek Bailey’s early life and musical influences. Part 2 briefly summarises Derek Bailey’s career as a professional pop music artist, before he started playing free improvised music. Part 3 examines the first free improvised music ensemble in which the guitar player worked in. Part 4 presents His main activities as a free improvisator, the ensembles, released albums. Part 5 presents his late experiments with musicians and artists from different idioms. Chapter 3 concentrates on Derek Bailey’s improvisational style, and what it could suggest to a practicing musician. It is divided in to six parts, each dealing with different aspects of music. Part 1 describes the specifics of his instrument of choice. Part 2 analyses his use of timbre. Part 3 presents his choices for organising pitch. Part 4 analyses his approach to rhythm. Part 5 summarises the guitar player’s view on the subject of musical form. Part 6 closely examines three examples of the guitar player playing in three different ensembles. Conclusions are drawn after that. |
