2017 AJIRN Conference: Agency in Jazz & … about jazz and improvisation – particularly in terms of aesthetics, ... Ensemble Roles in the Contemporary Jazz Guitar Trio 4:40 Jonathan

2017AJIRNConference:AgencyinJazz&Improvisation

2-4June2017

ParisCat6GoldiePlaceMelbourneAustralia

PresentedbyTheSirZelmanCowenSchoolofMusic–MonashUniversityinassociationwiththe

2017MelbourneInternationalFestivalofJazz

2

PROGRAM

AJIRNandtheSirZelmanCowenSchoolofMusic,MonashUniversitypresents:

AgencyinJazz&ImprovisationDiscussionaroundagencyhasaccumulatedinsignificantresearchandcommentaryaboutjazzandimprovisation–particularlyintermsofaesthetics,cultureandcognition.Thethrustofthediscussionseemstohavemovedfromassumingthemusicianhassingularagencyinhisorherworktoamoredistributedagencywhereotheragentscollaboratetocreatemusic.Inthisconference,across-sectionofresearchersfromthefieldwillexplorethenotionofagencyinjazzfrommultipleperspectives,including:

▪ theconsequentialandinter-relatedimpactofdiverseanddynamicagentsoncreativityandinnovationinimprovisedandexperimentaljazz;

▪ howagencyisarticulatedintheanalysisofperformance/composition,includingforexample,identifyingmethodsofanalysisappropriatetoaparticularmodality;

▪ articulatingandaccommodatingsociologicalconceptsofagency,suchasmaintainingallegiancetolocalitiesinglobalised,post-diasporicjazz;

▪ howagentsandagenciesarecharacterisedinperformanceexperimentation;▪ theutilisationofagentsandagenciesexternaltothecomposer,performerand

performance;and▪ thecontrastingframeworksofmusicologistsandexperimentalperformers/composers

inrelationtoagency.

3

Day1

OpeningReception5:00–6:30pm

ParisCat6GoldiePlaceMelbourneAustralia

4

Day2

Time Loft(Upstairs) Downstairs9:00 Registration 9:15 Introduction

Session1

Session2 Agency-Environment JazzScenes

9:30 SamMcAuliffeImprovisingintheOpen:PlaceandAgency

BenPhippsSocialOrganisationandtheMusicalPracticesofJazzBassplayersinSydney,Australia

10:00 MaceFrancisTrio:Musician;Composer;Site

JohnFitzgerald&AdamSimmondsCollaborationAcrossImprovisingGenres:GenreCrossinginanAustralianPerformingMusicianNetwork

10:30 JonathanDayGeniusLoci

DaveWilsonMakingtheJazzSceneinMacedonia:Historiography,Labour,andtheUnevennessofKnowingtheWorldthroughSound

11:00 Break Break

Session3

Session4

EnablingAgency IntegratingCreativeProcess11:30 JordanMurray

RehearsalStrategiesfortheEnhancementofAgencyinSpontaneouslyImprovisedMusic

AndySuggAgentsofChange:TheSaxophoneafterTrane

12:00 CharlesMacInnesHowdoyouWantmetoPlayThat:AgencyintheImprovisingContemporaryClassicalArtMusicEnsemble?

JohnMackeyAnExtendedApplicationofthePentatonicScaleinJazzImprovisation–ProposalofaNewModalConcept

12:30 RodDaviesTowardsaPractice-basedMethodologyfortheInvestigationofAgencywithintheVocalBooth

TomO’HalloranEditBunker:aCaseforInnovationinJazzThroughAgencyofDigital/MovingImage

5

1:00 Lunch

2:00 Performance

Session5

AgencyinPerformance 2:30 RobertBurke

MappingAgencyinanImprovisationalSetting

3:00 PaulWilliamsonHowCanRe-InterpretativeDecisionsContributetoAgencyWithinJazzPerformance?

3:30 Break

Session6

AgencyinArtisticResearchPerformance

4:00 FionaBurnettAgencyinTwentyFirstCenturyImprovisation:FreedomandRestrainttheDualitywithinArtisticPracticeofthePerformer-Composer

4:30 NicoleCanham&KarlinLoveImprovisingaLifeAfterResearch:MakingThingsHappenorLettingthemHappen?

Session7

Session8

PostGraduatePapers PostGraduatePapers5:00 DaniloRojas

PracticeandResearchoftheCuecatoJazzandImprovisation

AlfredoLopesJazzing:IntuitionandIntellect

5:20 DanSheehanTheImprovisationalEtude:AModelforCreativePractice

NickFreerMusicAnalysis,OntologicalParadigmsandSemiologicalPrinciplesofConflation/Progression

5:40 GregStottThinkingLikeaDrummer:AWorkinProgressforGuitarImprovisation

TimWillisTheDevelopmentofManipulativeAuralSkillsinImprovisingMusiciansviaMentalPracticeduringPerformancePreparation

6:00 Close

6

Day3

Time Loft(Upstairs)9:00 Coffee

Session9 Agency-Environment

9:30 LeondeBruinMetaCognitionandDistributedCreativitiesinImprovisedMusicMaking

10:00 RogerDeanAgencyandLeadershipinKeyboardDuoImprovisation

10:30 BruceJohnsonBringingUpTheBodies:Cognitiveagencyinjazz

11:00 Break

Session10

QuestioningAgency11:30 AndrysOnsman

ToExpressYourself:AgencyandIdentityinImprovisedExperimentalMusic

12:00 SageHarlowTheIllusionofFreeWillandItsImplicationforImprovising(andInvocation)

12:30 VincentGilesDeterminismandCreativeFreedominImprovisation

1:00 Lunch

2:00 Performance

Session11 IndividualAgency-AustralasianContext

2:30 AndrewRobsonStompin'theAustralBlues:McGann,EvansandSimmondsasAgentsofChange

7

3:00 AleishaWard

MakingJazzMaori:UsingCulturalAgencytoLocaliseJazz

3:30 ChristopherCoadyTheAgencyofLivedExperienceinJazzHistoriography

4:00 Break

Session12

PostGraduatePapers4:20 MichaelBrady

EnsembleRolesintheContemporaryJazzGuitarTrio

4:40 JonathanZion

OrganicInterplayinaJazzTriocontext:IdentifyingInteractive,CommunicativeLanguage

5:00 DanielGough

AgencyandAutonomyinTertiaryJazzPianoStudents’PracticeRoutines

5:20 ZoeKibounRe//cite

5:40 JoshuaHatcher

ComposinginConversation

6:00 Close

8

Abstracts

Session1Agency–Environment

SamMcAuliffeImprovisingintheOpen:PlaceandAgencyUniquetotheimprovisedmusicalworkisthatcompositionandperformanceareineluctablyentwined.Theentiretyoftheartworkunfoldswithin,and,asIwillargue,isinformedby,asinglelocationintime-space.Itisthisrelationshipbetweenplaceandimprovisation,specifically,howtheenvironmentinformsaperformer’scognitivedecisionswhileperforming,whichIexploreinthispaper.DrawingfromMartinHeidegger’snotionsof“openness”andthe“fourfold”,aswellasresearchinthefieldofphilosophicaltopographyandembodiedcognition,Iarguethattounderstandtheagencyandexperienceofaperformerwemustconsidertheirembodiment,orimplacement,intheworld.MaceFrancisTrio:Musician;Composer;SiteCanthephysicalspacearoundusbeanactiveagentandintegralmemberofamusicalensemble?Canthetrioofmusician,composerandsiteworktogethertocreateaworkthatcanonlyexistwitheachmembercontributingequally?Unorthodoxperformancesitesoffertheopportunitytocollaboratemusicallywiththeenvironmentinuniqueandcreativeways.Ratherthanresisttheacoustic,auralandphysicalcharacteristicsofthesepotentialperformancespaces,theycanbecomepartofcompositionsandtheirperformances,makingthemsite-specific.Whilstthisiscommonpracticeinsoundartandsimilarpractices,itislesssoinformalcompositionandimprovisation.Isitthenpossibletosuccessfullycollaboratewiththeacousticandphysicalcharacteristicsofaspecificperformancesiteinacompositionalprocess?Isitpossiblethattheperformancesitebejustasintegraltotheinterpretationofthepieceasmusiciansareconsideredtobe?Composingandperformingmusicinthiscollaborativewayproposesaverydifferentcreativeprocesstowhatcomposersandmusiciansgenerallyfollowwhencreatingmusicfortraditionalperformancesites.Itreliesonthecomposerandthemusicianstonotonlylisteningtoeachother,astheyareconditionedtodo,butalsotothespaceandsoundsaroundthemallowingtheagencyoftheirperformanceenvironmenttoopenlyaffectandimpactontheperformance.

Thispaperinvestigateshistoricalexamplesofthisthree-waycollaborativecompositionalprocessbetweenmusicians,thecomposerandthesiteaswellasusestheauthor’scompositionStairwelltoFifteen(2014)asanexampleofthisformofagency.JonathanDayGeniusLociIamfascinatedbytherelationshipbetweenimprovisedelementsandmoreformalrepeatedaspects/structureswithinmusicalcomposition.Aswellasthe“headandvariations”inmuchjazzplaying,thiscanbeheardveryextensivelyintraditionalmusicalculturesfromaroundtheworld.Idonotatallviewthesemusicalpracticesas“early”or“primitive”,insteadseeingthemoftenin

9

oppositiontothedifferentiationinWesternartmusicthatrathermorereflectsthelatter'spredicationonclassbasedhierarchiesandaneo-industrialdivisionoflabour.Whyisimprovisationsopervasiveandsoeffective?ItallowswhatMariaSchluterRodescalls“signpostingthetranscendent”(asIarguedinmyrecentJazz,KantandZen:TowardsaPhilosophyofImprovisationpublishedbyBrill)becauseofitsinsistenceontransgressionanditsplayingwiththeliminal(Corbett,1995andBarthes,1987).Italsoembodiesthe“beyond”.Schopenhauerandothers(Butler,Phelan)suggestthatsincepersonaisaconstructinresponsetothevicissitudesofexperience,wemayescapethatconstructthroughmusic.Wedonotleaveourselvesorceasetobe–weare,asplayersor“deep”listeners,simplyrelievedoftheimperativetoperformourconstructedpersonaforthosemoments,makingimprovisationaliberatingextensionbeyondknee-jerkindividuationintoanuminousspace.

Whataretheinspirations,theseed-germsfromwhichthisinspiring“newness”appears?Oneisclearlythepowerfulagencyofenvironment/landscape/location.CarlJungwrites"inexceptionalstatesofmind[suchaswhenimprovising]themostfar-fetchedmythologicalmotifsandsymbolscanappear"(1960:112).Iamparticularlyinterestedcurrentlyin“geniusloci”the“spiritofplace”.Jungarguesfor“theunavoidableinfluencesexertedbytheenvironment”andIamdeeplyintriguedbytheagencyofenvironment.Inwhatparticularwaysdoesitinspirework?Hownoticeable–ifatall–isitinsuchworks,anddoesthatmattersolongasagency/inspirationwasencountered?Agreatnumberofimprovisersacknowledgethisinspirationalroleintheirwork(Impressions,Coltrane,SketchesofSpain,Davis,Concordances,CharlesChaynesetc.).Thisrelationshipwillbeexamined,alongsideexamplesfrommyownsite-specificexperimentalcompositionalpracticereleasedrecentlyunderthetitleAtlanticDrifter(Niimiika/Proper2015).

Session2JazzScenes

BenPhipps SocialOrganisationandtheMusicalPracticesofJazzBassplayersinSydney,AustraliaWhilethedemocraticandagenticsocialmeaningsofjazzinrelationtoU.Shistoryhavebeenwidelyunderstood,theeverydayexperienceofperformingjazzshouldnotnecessarilybecharacterisedinthesameway.Performinginjazzensemblesisacomplicatedexperience:oneinwhichmusicalrolesarenegotiated,restrictedand/orliberated,sometimesinthecourseofperformanceasaformofimprovisationandatothertimesintherehearsalworkthatsurroundssuchevents.Assuchtheeverydayexperienceofamusician’scareercanhaveasignificanteffectonthesocialencodingofappropriatemusicalperformancepractices.

Drawingonethnographicresearchthispaperexploresthesocialexpectations,whichaffectthemusicalpracticesofbassplayerswhenworkingforavarietyofemployersinaroleofbothaccompanistandsoloist.Itexaminesthesidepersonrole,itsbenefits,pitfallsandpracticalrealities,suggestingthattherelationshipbetweenthemusicalpractices,ensemblehierarchiesandsocialmeaningsofjazzisnotalwaysclear.Thepaperassertsthatwhatgovernsthepracticeofbassplayersisinsteadadualityofeconomicimperativeandcreativedesire.

10

JohnFitzgeraldandAdamSimmonsCollaborationAcrossImprovisingGenres:GenreCrossinginanAustralianPerformingMusicianNetworkEthnographicliteraturesuggeststhatinimprovisedmusicscenesatleast,collaborativemusicperformanceisnotjustaneffectofsocialstructure,itisconstitutiveofsocial,culturalandprofessionalidentity.Performancesengagemusiciansandaudiencesinanongoingprocessofcommunitybuildingthroughimprovisationalmusicalperformance.These“performativepresentationalstrategies”arefoundintheselectionofartistsandtheprogrammingofmusicalevents.Theyareperformativebecausetheeventshavethepotentialtocreatethemusiccommunitiesofwhichtheyspeak.Mapsofcollaborativecommunitiesalsohavethepotentialtonotonlymakesocialandnetworkrelationsvisiblebuttoconstructnewlivedsocialrealities.Anyrenderingormap-makingneedstobecognisantoftheperformativedimensionstomusicperformanceandtomapmakingitself.

Centraltomappingcollaborativemusicworldsisanawarenessofthenetworksofmusiciansandtheircharacteristics.Therearetwosomewhatcompetingviewsofhowboundedmusiciansaretonetworksandmusicformations.Thereisoftenanunder-acknowledgementofmusicianswhocrossgenrebetweenjazzandotherimprovisedmusicworlds.Thismixed-methodnetworkandauto-ethnographicstudyexaminesthenetworkcharacteristicsand“genrecrossing”of100performingmusiciansinMelbourne,Australia.Themusiciannetworkhasfivecomponents(jazz,experimental,newmusic,rootsandpop-mainstream).Therearedifferencesinhowthemusiciansdefinetheirowngenre,thegenreinwhichtheyperformandtheclusterstowhichsocialnetworkanalysisclassifiesthem.Somegenre(suchasexperimental)arediscretecomponents,whereasotherperformancegenre(rootsandpop-mainstream)arepopulatedbymusiciansfromawiderangeofmusicalidentities.Keyinfluencersinthenetworkoftenworkedacrossgenre.Theanalysishasconsequencesforhowweunderstandtheperformancehabitsofmusiciansandhowwecometounderstandthenatureofmusic“scenes”,“worlds”andgenremoregenerally.DaveWilsonMakingtheJazzSceneinMacedonia:Historiography,Labour,andtheUnevennessofKnowingtheWorldthroughSound

"Iwanttoplaybebop,straight-aheadjazz.ButwherewouldIfindanaudienceforthatinMacedonia?Who'sgoingtopaymeforthat?"Thesewords,spokentomebyaleadingyoungMacedonianjazzmusician,areofacommonriffamongasmallcadreofMacedonianmusicianswhoreceivedundergraduatedegreesinjazzstudiesattheUniversityofMusicandPerformingArtsinGraz,Austria.ThesemusicianstypicallyreturntoMacedoniaaftertheirstudieswithexceptionaltechnical,stylistic,andimprovisationalskillsontheirrespectiveinstruments,astrongpreferenceforbebopandpost-bop,andadearthofopportunitiestomakealivingperformingthemusictheyhavecometorevere.Thispaperanalysesthewaystheseparticularjazzmusiciansagentivelynegotiatethelabouravailabletothemastheygrapplewithcompeting(butoverlapping)definitionsofjazzwithinMacedonia'ssmallscene.Astheyprivilegespecificmodesofjazzmusicmaking,theypositionthemselveswithvaryingdegreesofdisdaintowardstheirvariouslabourcontexts,whichincludebackinguppopsingersonprogrammesofthestatetelevisionnetwork,performingtraditionalmusicinweddingbands,andteachingatstateuniversities,amongothers.IbringtogetherSherryOrtner's(2006)conceptofan"agencyofprojects"onthemarginsofpowerwithStevenFeld's(2012)notionofacoustemologyasthe"agencyofknowingtheworldthroughsound"insituatingthesejazzmusiciansamongbroader,transnationalnetworksofwhoandwhatconstitutes"legitimate"jazz.Basedonongoingfieldworkconductedsince2011,thispaper

11

exploresnotonlysomeoftheeconomicallyprecariousconsequencesoftraditionaljazzhistoriographiespromotedinhighereducation,butalsothehopefulwaysthatjazzmusicians,asmultiplysituatedsocialactors,musicallymaketheirworldsattheintersectionofcompetingmusicalcosmopolitanisms,locallegaciesoflabour,class-basedsubjectivities,andconceptionsofurbansuperiority.

Session3EnablingImprovisation

JordanMurrayRehearsalStrategiesfortheEnhancementofAgencyinSpontaneouslyImprovisedMusicRisjord(2014)arguesforan“ecologicalattunement”inregardstojazzmusicians’behaviorwithinvariousmusicalenvironments.Inreferencetothemodernphilosophicalholism-individualismdebate,heexplainsthatboththemicro-foundationalapproach(individualist)andpractice-theoreticapproach(holistic)arerelevantinaninvestigationofjazzmusicians’behavior.

MyargumentinthispaperalignswiththatproposedbyRisjord,thatis,aviewofagencyasaninterdependentphenomenon.Iarguethatrealisationofanagent’sownactionsisreliantontheimmersionintheactionsofotheragentswithinasocialcontext.Thisincludesconsiderationoftheimpactofone’sactionsuponperformanceobjectivessuchasmutualcoordination,sharedgoalsandgroupaesthetics.Inthispaper,Iproposeanddiscussaseriesofconceptualrehearsalstrategiesthatconstituteamethodforenhancinginterdependentagencyinemergentgroupimprovisation.Thesestrategiesaimtofostercommunalwaysoflisteningandorganisingmusicalelementsintheperformanceofemergentgroupimprovisation.Spontaneouslyimprovisingensemblesprovideaninterestingplatformforobservingtherelationshipbetweenagencyandstructureandconceptualizingtheprocessesinherenttothismusic.CharlesMacInnesHowdoyouWantmetoPlayThat:AgencyintheImprovisingContemporaryClassicalArtMusicEnsemble?Thispaperpresentsacompositionalframeworktoaddressagencyinacontemporaryclassicalensembleimprovisationcontext.Theframeworkaimstosolvesomeofthedifficultiesassociatedwithintroducingimprovisedpracticestomusiciansaccustomedtothescoreasprimarypointofentrytoawork.Beginningwiththeassumptionthatimprovisation,regardlessoftherepertory,adherestoJeffPressing’sprincipleofbeingreferent-guided,Iidentifywhichreferentsmightbestapplytothecontemporaryclassicalensemble.Todothis,Ilocatemethodsinscoresandrecordingsofthe1950sand60sexperimentalists,includingEarleBrown,ChristianWolff,JohnCageandKarlheinzStockhausen.Additionally,Iinvestigatehowthetoolsandmaterialsofmorerecentimprovisatorytheoryandpractice—includingfreeandhybridforms—canbeadaptedandappliedtoreadingmusicians.

Basedonmyresearchworkingwithprofessionalandworkshopensembles,Ihavedevelopedaframeworkthatconsistsofasetofsymbolstovarytheplayingtechniquesofwrittennotes,includingalteringjoins,sustainlengthandhorizontalplacement.Theseareaugmentedwithwrittenperformanceactionstosteerthenegotiationandinteractionbetweentheensembleplayers,includinghowtoadapt,fragment,re-incorporateanddeviatefrommaterialswithinawork.Thepaperalignsitselfwithagrowinginterestfromcomposersandplayerstoseeimprovisationbecomeamoresignificantpartofthecontemporaryclassical

12

ensemble.Theframeworkseekstobalancethetechnicalwiththebehavioralandencourageplayerstomovebeyondastreamofconsciousnessapproachwhenimprovisingtexturesandsolos.Thescoreremainsanecessaryartefact,provideditservesasamediatorofagencyinimprovisationandsupportsthechangingrolesandexpectationsofbothcomposerandperformer.RodDaviesTowardsaPractice-basedMethodologyfortheInvestigationofAgencywithintheVocalBoothThemethodsappliedtoresearchingtheprocessinwhichmusicartists“cover”popularsongisausefuldeparturepointforpractice-basedresearchintothephenomenonoccurringwithintheactualperformance.Themainconsiderationsforadaptingsuchmodelsandmethodologiesarecreatinganenvironmentconducivetoreflectivepracticeandaframeworkthatenablesthestudytobeconsistentlyreproduced.Theliteratureprovidesmixedmethodstostudytheextentofvarianceinpopularsongperformance,butIseekamethodologythatinvestigatesthequality,the“how”orthe“way”thatanartistvaries(interprets)apieceofmusic.Therecordingstudioorvocalbooth,whichplaysacentralroleintheinceptionanddisseminationofperformancesinpopularmusicisapracticalsettingfortheseaimsandfacilitatesdetailedexaminationthroughrecordingtechnology.Thevocalboothenvironmentpresentsseveralagenciesexternaltotheperformer,whichwhenutilisedaffectaperformanceonbothanaestheticandcognitivelevel.Thephysicalsetting,sonicenvironment,lengthoftask(e.g.drop-ins,fullsongperformance)andthepresenceofmusicians,studiopersonaland“others”,allbearaffectiveimpactonaparticularperformance.Reflectivejournaling(e.g.Johns,2009),performancecues(e.g.Ginsborg,2012)andinter-objectivecomparison(Tagg,1982)integratetoformanovelmethodologythatarticulatesagencythroughobservationoftheperformanceprocess.Thismethodologyiscurrentlybeingtestedwithinmyowndoctoralstudiesandresultsarestillforthcoming.Suchfindingswilladdnuancetoourunderstandingofapracticethatisfundamentaltoperformanceofpopularsong,offeringpedagogicalinsightsandoptionsforfurtherresearch.

Session4IntegratingCreativeProcess

AndySuggAgentsofChange:TheSaxophoneafterTraneWhileit’scommonknowledgethatJohnColtranetransformedjazzimprovisation,weknowalotlessabouthowthistransformationplayeditselfoutinthegenerationthatcameafterhim;andhowafewinthisgenerationfoundinTrane’smusicnotonlysomethingtoimitatebut,throughtheirownagency,somethingtostimulateinnovationoftheirown.Thispresentationtellsthestoryofthatinnovationinthemusicoftwoimportantsaxplayersofthispost-Tranegeneration:DavidLiebmanandJerryBergonzi.ThispresentationpresentsadetaileddiscussionofsolosbyTrane,LiebmanandBergonzionasinglerepertoirestandard.BycomparingeachsolowecometoaclearerunderstandingofthesourcesofTrane’schromaticism.WeseehowLiebmanextendsthisaspectofTrane’smusictodevelopapersonalandinnovativesoundofhisown.InBergonzi’smusicweseeTrane’sinnovationstakeadifferenttrack,feedingbackintobebopandcontributingtotherevitalizationofthatstyle.ThispresentationarguesthatinLiebman’sandBergonzi’sresponsestoTrane’smusicweheartwokeydirectionsinsaxophoneimprovisation,

13

andinjazzimprovisationgenerally,sincethe1970s;directionswhichremaincentraltotheartofjazzimprovisationtoday.JohnMackeyAnExtendedApplicationofthePentatonicScaleinJazzImprovisation–ProposalofaNewModalConceptTheintentionofthisresearchistoexploretheharmonicandstructuralpossibilitiesofthechromaticapplicationofpentatonicscalesovervariouschordsequences.Aprimaryfocusoftheresearchentailshowtheproposalofthisnewmodalconceptdiffersfromexistingliteratureonthepentatonicscalesanditsuseinjazzimprovisation.TheMajorPenta-TalvianModalConcept(MPTMC),anagrammaticindesign,isstructuredinsuchawaythattheimprovisercanapplypentatonicstructuresinagraduatedfashion.Themodalconceptinvolvesthesuperimpositionofpentatonicscalestructuresoverachordtocreateinterest.OnecandefinetheMPTMCasapentatonicsystemthatisappliedinaseriesofstages,exploringastructuredandlayeredapproachtosuperimposingthepentatonicscaleoveragivenchord.Thesystemisdesignedaroundfourspecificoptions,givingtheimproviservariousoptionsofchromaticapplications.Theimproviserdecideshowfarawayfromtheparentkeytheywishtoventure.Aseriesofrelatedresearchsubtopics,listedbelow,willbeinvestigatedtoprovideawell-roundedlookatthemultitudeofpentatonicapplicationsthatareavailable.Thisresearchfocusesonthedevelopmentofimprovisatoryvocabularyutilizingthepentatonicscaleinpermutatedstructurestocreateblendedlineconstruction.Iseektoprovetheeffectiveness/usefulness/practicalityoftheMPTMC,throughthecompositionofmultiplenotatedexamplesandexplanationsofvariedcombinationsofpentatonicscalesandscalefragments,andtheirrelationshiptochordsequences.

Otherresearchquestionswillinclude:WhatmathematicalandformulaicstructureunderpinstheapplicationoftheMajorPenta-TalvianModalConcept?Howdoesasoloist,superimposingscale-tonemajorpentatonicscalesoveravarietyofchordsequences,createvocabularyusingtheMPTMC?

14

TomO’HallaranEditBunker:aCaseforInnovationinJazzThroughAgencyofDigital/MovingImageTheincorporationofscreensinourdailylifeisslowlyimpactingandreshapingourjazzlisteningexperiences.Livefeedsfromjazzclubsarealreadytrendingasanagencyofjazzconsumption,andwearealsoexposedtoanever-endingfeedoflivegigsnippetsandphotos,promotionalclipsforupcominggigs/latestreleasesandamateursperformingseminaljazzsolos.Arenewmethodstoengagewiththedigitalimageandjazzperformancemorerelevantnowthaneverbefore?Arecomposersandperformersofjazznowabletobeagenciesofintentionalworksthatembracethisextradimensionofmulti-media?Thepossibilitiesofdigitalandmovingimagewithinmanyothercontemporaryartpracticesarewellknown(Rugget.al.,2007,Sukla,2001).Thispaperwillconsidertheimpactofutilizingimagesasanagentforinnovationwithinjazzperformance.Itwillbeginbybrieflypositioningjazzwithinthemulti-mediaandmusicperformanceparadigm,andalsoinvestigateanypastandpresent“jazz”worksthathaveembracedthisasanintegratedconceptualfocus.AbriefdescriptionandcasestudyoftheAmericangroupEditBunkerwillthenbeusedtopresentcurrenttechnologies,andfromwhichtoproposepossibleextensionsoftheseforapplicationwithinvariedjazzsettings.

Thepaperwillarguethatbyexploringconventionalpresentationsofmodernjazzandadditionalmeanings(throughsymbols;suchaspoliticalprotest,confrontingimagesoflove,lossormoreabstractandconceptualrepresentationsofdatathroughmovingimage)–weprimethecreativeandexperimentalspectrumofjazzwithnewpossibilitiesforimpactinthe21stcentury.Further,thatthiscouldcontributetowidernotionsandagencyofjazz(includingamorediverserangeofparticipants)willbeexplored,andpossibleimplicationsofthissuchasgenreblurring,inter-textualityandmulti-disciplinaryoutcomesandapproaches.

Session5AgencyinPerformance

RobertBurkeMappingAgencyinanImprovisationalSettingFundamentally,thenotionofagencyisbasedonthecapacitytohaveaneffect.Thispaperarguesthatinanexperimentalimprovisedmusicenvironment,amusicianexercisesthecapacitytoaffectvariouselementsofaperformanceinapurposefullyinnovativeway.Itaimstodevelopacompositeunderstandingofagencyasacontributingfactortothedynamicallyunpredictablemomentofcreation.

Thispaperexploresandmapssomeoftheaspectsofimprovisationinwhichamusicianexercisesagencybyconsideringashortsegmentofexperimentalmusicfromarangeofperspectives.Theseincludeillusivenotionssuchaschoice,indeterminacy,expertise,intentionandtheinteractivedynamicoftheknownandunknown.Asfunctionsoftheephemeralmomentofcreation,theconceptsmaybeporousandmutable.Ultimately,thepaperconcludesthatthepotentialof“whatis”andeffectof“whatwas”containthepossibilityofamyriadofreactionsandthatinnovationinexperimentalmusicprecipitatescreativity.

15

PaulWilliamsonHowCanRe-InterpretativeDecisionsContributetoAgencyWithinJazzPerformance?Acompositioncaninfluencejazzensembleperformancebythewayitisnotated,themusicalmaterialsused,itssuitabilityfortheindividualpractitioners,andthespaceitallowsforinterpretation,interaction,andflexibilitywithinperformance.TheagencyoftheperformerindevelopingreinterpretationsofjazzstandardswasexploredthroughpartiallynotatedarrangementsandimprovisationswithinthedevelopmentandperformanceoftworecordingsbythePaulWilliamsonQuartet.Theaimofthisstudywastoexplicatethewaysinwhichindividualandcollectiveagencyisshapedbyfocusingonhowthereinterpretationsaffectedtheperformers’choicesand,conversely,theeffectperformers’choiceshadonensembleimprovisation.

Thearrangementsandperformanceswereguidedbyreferentsandrefinedbyreal-timeperformancedecisions.Thisapproachfacilitatedincreasedflexibilitywithinthereinterpretationswithspecificmelodic,harmonicandrhythmicreferentsactingassignifiers.Thesesignifiersinturnprovidedanidentifiablecommonalitybetweentheotherwiseantitheticalframeworksoftraditionalandfreejazzimprovisationthatco-existontheserecordings,facilitatinganovelcreativework.Thisartisticresearchconsideredagencyinrelationtotheintention,goalsandsubsequentchoicesmadebytheindividualsandensembleinjazzperformancethroughpractice-ledandheuristicmethodologies.

Session6

AgencyinArtisticResearchPerformance

FionaBurnettAgencyinTwentyFirstCenturyImprovisation:FreedomandRestrainttheDualitywithinArtisticPracticeofthePerformer-ComposerAgencyinTwentyFirstCenturyImprovisationinvestigatesnotionsofduality,throughthestudyofthecreativeprocess,inspirationandtheindividualizationofthepersonalvoiceinimprovisation.Keyconceptsoffreedomandrestraintareexploredinacreativecontextthatfacilitatetensionandreleasewithinthecontextofimprovisation.

Throughthisinvestigationofimprovisationalprocess,keyquestionsareexploredthatfacilitatetheexaminationofpersonalvoiceandidentifythecreativeorgenerativeagencyofspecificstylisticinfluences.Questionsexaminedinclude:Towhatextenddoescreativefreedomfindexpressionwithintheprocessofimprovising?Whattypeofstructurescanbe,orneedtobedevelopedand,oridentifiedtofacilitatethespontaneousnatureofimprovisation?Howsignificantistheprocessofrestraintuponthespontaneousimprovisationandhowisthismeasuredand,oranalyzed?Doestheprocessofimprovisationchangedependingonpreconceivedoutcomessuchasduration,keycentersandrhythmicorthematicdevices?

Theexaminationofrelevantpersonalfactors,andmycurrentmusicalsyntaxarecentraltothisinvestigation,wheremultipleagentscanbeidentifiedinformingauniquesetofaestheticoutcomes.Equallysignificantistherecognitionofthedualityinherentinmyexperienceofthecreativeprocessofimprovisationandhowtheseoftencontrastingelementsoffreedomandrestraintcoalescetoinformmypersonalvoiceinimprovisedmusic.Shortmusicalexampleswillbeperformedthroughoutthispresentation.

16

NicoleCanhamandKarlinLoveImprovisingaLifeAfterResearch:MakingThingsHappenorLettingthemHappen?Whilethefieldofpractice-ledresearchisrapidlygrowing,andmodelsofimprovisatoryprocesseshaveproliferated,theunevendistributionofcompetenciesthatoftenoccursinpractice-ledresearchsettingsislesswell-explored.Theoriesofexpertiseillustratestagesthroughwhichcompetencedevelops,butwhatofsituationswhereskillswithinasingleindividualdiffergreatly?Practice-ledresearchoftenhighlightscollisionsbetweenskills,beliefs,values,andvaryinglevelsofexpertise,mirroringthekindsoftensionsexperiencedincareerlearningincreativeprofessions.WecametoourPhDsasprofessionalmusicians.Researchhasenriched,challenged,andconfusedourpractice.Post-PhD,weareactiveinmusicandresearch,andexperiencethedissonanceofdifferinglevelsofexpertiseintheseareasofourworklives.Aswedancebetween‘chartingthecourse’and‘ridingthewave’wehavewonderedhowthecumulativelearningthattakesplaceinpractice-ledresearchsettingsmaybebetterunderstoodandharnessedasatoolforbothinvestigationandfornavigatingprofessionallife.

Inthispaper,wereportonearlystagesofanimprovisation-basedmusicalcollaboration.Thefirstphaseofourcollaborationexploresandcomparesourresearchedunderstandingsofcareerlearningandprofessionaldevelopmentwithourworktogetherasmusicians.Improvisationoffersanenvironmentthathasprovideduswithconsiderableagencyasperformersandproducers.Italsoprovidesanavenueforunderstandinglearningbeyondthemusic-makingsphere.Intheworkofcomedian,TinaFey,researchersMacDonaldandWilson,broadertheoriesofexpertisedevelopedbyDreyfusandBenner,andKrumboltz’shappenstancelearningtheory,weobservesimilaritiesbetweenapproachestoimprovisationinmusicandtoimprovisationinlife.Usingourcollaborationasacasestudy,weproposeaframeworkforprofessional/careerlearningthatmirrorsourmusicalimprovisations,andmayprovideahopefulmetaphorforothercreativeworkerslookingforartisticmodelsofprofessionalagency.

Session7PostGraduate

DaniloRojasPracticeandResearchoftheCuecatoJazzandImprovisationArticulationandculturalidentityofcontemporaryBolivianmusicandphenomenologicalcasestudyofmypersonalcontributionascomposerandperformer.

TheCuecaisdance,poetryandmusicwhichisaculturalexpressionofLatinAmerica.MypostgraduatestudyhasbeenaninvestigationoftheimportantelementsoftheBolivianCueca,it’shistory,developmentandgeographicaljourneyalongsideacreativeelementofpractice-basedresearchcomingfromananalysisofmyfirstprofessionalrecordingsofCueca/JazzImprovisationleadingtonewcompositions.

AnethnographicandmusicalanalysisoftheBolivianCueca(structure,rhythm,harmony,melodyandimprovisation)willbeprovidedfromthefirstpioneersandinfluentialcomposersandinterpretersSimeonRoncal(pianist,1870-1953)andJoséLavadenz(mandolinist,1883-1967)alongwithanauto-ethnograficreflectionofmyrelationshipwithmyculturalidentityasacomposer,performerandsonoftheBoliviancomposerGilbertoRojas(1916-1983).Phenomenologicalcontextualanalysisofmy2005recordingof"Chuquisaquenita"intheCD/DVD“Lunar”andfindingsfromthepractisebasedresearchwhichledmetounderstandwhatelementsIhadadoptedfromthepre-mentionedcomposerstothencreateandspontaneouslyengagejazzandimprovisationtechniqueswithintheCuecatotakeittowardsanewgenre.

17

ThepresentationwillincludeaperformanceofnewCuecasIhavecomposedaspartofthecreativeelementofpracticeresearchinspiredbymypersonalvisionasaBoliviancurrentlylivinginMelbourneAustralia,inamulticulturalcontextwhileconsideringthedevelopmentprocessoftheAustralianjazzaccenthighlightingthecrossculturalnotionsofagencyweencounterasmusicianswithinglobalisedjazz.DanSheehanTheImprovisationalEtude:AModelforCreativePracticeThispaperinvestigatestheadaptionoftheclassicalpianoetudeandproposesamodelforthe“improvisationaletude”asatoolforcreativepracticeinanimprovisedsolopianoformat.Theetudeisawell-establishedandhighlydiversegenrewithintheclassicalrepertoire,havingservedpedagogicalandskillsdevelopmentpurposessinceitsemergenceearlyinthenineteenthcentury.Itisproposed,however,thatthegenrestilloffersfurtherpotentialforapplicationwithincontemporaryimprovisedmusic,andparticularlyforindividualpractitionersasareflectivestrategyforpersonalartisticgrowth.DrawingonrecentperformanceworkbyPhiladelphia-basedpianistMattMitchell,aswellasdocumentedpracticeswithinthejazztradition,thispractice-basedresearchdemonstrateshowthecombinationofdidacticstrategy,compositionandimprovisationcanproduceidiosyncraticoutcomesinperformance.Withreferencetoanoriginalfolioofimprovisationaletudescores,aswellasrecordedperformances,Iconsidertheimpactoftheimprovisationaletudemodelonmypractice,bothintermsofparticularskillsgainedand,moresignificantly,howthishasledtoabetterunderstandingofprocessandoutcomewithinmypractice.GregStottThinkingLikeaDrummer:AWorkinProgressforGuitarImprovisationAsastudentofjazzguitaroneislikely,atsomepointintheirdevelopment,tobetold“trythinkinglikeadrummer”.Thisgeneraladvicehasbeenofferedtomeforanynumberofreasonsbutithaspromptedmetoexplorethepossibilitiesofguitar-specificadaptionofdrum-setpedagogicalmethods,anddrummers’approachestovocabularydevelopmentandimprovisation.

InthispaperIpresentawork-in-progresssummaryofselectedaspectsofmypractice-ledresearch.Iwillfocusonmyguitar-basedmodelsofabstraction,asappliedtothevocabularyoftherudimentalsnaredrumtraditionandthejazzdrum-settradition.IproposethemodelsofProceduralAbstractionandRepresentationalAbstractionasframeworksforconceivingofnewvocabularyandimprovisationalapproachesinspiredbyinstrumentsotherthanyourown.Thisavenueofinquirywasborneofafascinationwithimprovisingdrummersandmanyinformal,post-gigdiscussionsabouthowtheydevelopvocabularyandprepareforimprovisationalpossibilities.Ihavedevelopedmypersonalabstractionprocessestogiveproceduralfocustoaspectsofmycontinuingidiolecticevolution.

Insummary,ProceduralAbstractionfocusesonprocess-basedconsiderationswherethedirectsubstitutionofexecutablevariablesisforemost.Incontrast,RepresentationalAbstractionpositsthetechnicalexecutionandprocessesassecondarytotheimportanceoftherepresentationalqualitiesoftheabstractionresult.Figurativeverisimilitudeisdesirableinthetranslationofthematerialandthemeansofachievingthesimilaritiesinpresentationarenotalwaystheresultofdirectlytranslatedprocesses.

Selectedexamplesofmypracticewillbepresentedasakindofpersonalpedagogyfordevelopmentofthiswayofthinkingaboutmypractice.Theseexampleswillalsobediscussedinthecontextofthelargerscaleworksbeingdevelopedaspartoftheresearchprocess.This

18

processofcreativeexplorationgivesagencyandfocustomypursuitofanexpandedvocabularyandmusicalidentityasanimprovisingmusician.

19

Session8PostGraduate

AlfredoLopezJazzing:IntuitionandIntellectJazzasacreativeactisdistinct,notsomuchinstylebutinitsperformanceasamusicandasaverb.Musicalmaterialcontainedwithinascorebythecomposerisusedtogenerateatemplateandspaceforparticipatingmusicianstocontributeideasasindividualsandasacollectiveintheformofimprovisationand“arrangement”,andcontinuestobetheuniqueelementinjazzperformanceorjazzing.Ratherthanidentifyingstylisticconsiderationsintermsofhistoryandtheory,Iproposethatweconsiderofequalimportancethenotionof“jazzasprocess”inregardstothemusic’sspecificcharacter.Interactionstakeplacewhereparticipantsarerequiredtomakedecisionsastotheamountoflibertytakenbetweenthecomposer’sdirection,andtheimprovisingmusicians’performanceasarrangersofthecompositionalmaterial.

Variousillustrations,usinganalogiessuchas“compositionasexperiment”,“creativedesign”,“decomposition”,“intangiblesofintentionandinterpretationinthescore’sperformance”,“jazzasexperiment”,and“smalljazzensemblecompositionasasocialexperiment”,areconduciveforinvestigatingtheinvention,performanceandreflectionofsmalljazzensemblecomposition.Theseexamplesatplayinmusic-makinghelpformthehypothesisofintuitionandintellectasastrandinframingandcontextualizingtheexaminationofpresentationinsmalljazzensemblecomposition;beginningwiththemusicalidea,writingofawork,toitsrehearsalandcompletedperformance,thuscontributingtounderstandingsofjazzprocess.Whichleadsmetoask:Howdovariousillustrations,usinganalogies,demonstratemethodsinvolvedinthecomposition,development,absorption,interpretationandtransferalofmusicalmaterialfromthescoretotheperformance,thuscontributingtoartisticpracticeasacomposer/player/leaderofasmalljazzensemble,andassistinthecomprehensionofintuitionandintellectasjazzprocess?NickFreerMusicAnalysis,OntologicalParadigmsandSemiologicalPrinciplesofConflation/ProgressionThepaperlooksspecificallyatunderstandinganddefiningfeaturesofalternateontologicalparadigmsandtheirimplicationsformusicanalysisasaresearchproduct.Consequently,alternateontologiesembodiedwithinformsofanalysiscanbeexplicated.

Althoughnotallphilosophers(andfewermusicologists)defineontologicalparadigmsexactlythesameway,anattemptismadetodosoinordertoavoidphilosophicalambiguity.Bydefiningthecharacteristictraitsofdifferentontologicalparadigms,suchparadigmscanbecontradistinguishedbasedonphilosophical,epistemologicalandaxiologicalgrounds.Consequently,theimplicationsofapplyingdifferentontologicalphilosophiestotheanalysisofmusiccanbeexploredwhilebeingconsciousofthelensesthroughwhicheachanalysisisgenerated.Withinthepresentation,differentformsofmusicanalysis(e.g.descriptive,reductionist)arepresentedinrelationtospecificharmonicobjectexamples.Giventheframeworkoutlinedabove,theunderlyingontologiesembodiedwithintheseformsofmusicanalysiscanconsequentlybeexplicated,delineatingtheprismofontologicalperspectiveimpliedbythedifferentformsofanalysis.Consequentlythelevelofutilityderivedthroughdifferentformsofmusicanalysisandontologiescanbepostulated.

20

Finally,abriefoutlineofthesemiologicalprinciplesofthe‘neutral’and‘poietic’levelsaredefinedandsituatedintermsofontologicalparadigm.Nattiez’snotionof‘goodanalysis’,achievedthroughtheanalyticalprogressionfromtheneutraltothepoieticlevelisrevealedasaconflationofontologicalperspectives.TheimplicationofNattiez’sconflationisthenappliedtothespecificharmonicobjectspreviouslyencountered.TimWillisTheDevelopmentofManipulativeAuralSkillsinImprovisingMusiciansviaMentalPracticeduringPerformancePreparationTheresearchcarriedoutforthisprojectcentersondevelopingtheabilitytoimproviseinthemind,whileawayfromtheinstrument,viamentalpractice.Forthisproject,theaforementionedabilityandassociatedskillsaretermed‘ManipulativeAuralSkills’.TheprojectseekstoascertainhowManipulativeAuralSkillsarebestdeveloped,andwhetherdevelopingthemcouldbeaneffectivevehicleforimprovingtheauthor’simprovisationalskillsandperformancepreparationregime.AsignificantpreoccupationofthisprojectisinvestigatingwhetherthestreamliningofManipulativeAuralSkillsmightimprovetheabilitytoexecutemusicalideasthatareheardinthemindwhileimprovisingduringaperformance.

Themainmethodofresearchinthisprojectisresearch-ledpractice:Informationcollectedinthefirsthalfoftheprojectisthenbeappliedwithinmycreativepracticesinthesecondpart,inordertogenerateartisticoutcomes.Aqualitativesemi-structuredinterviewhasbeencarriedout,examininghowseventeenhigh-levelimprovisingmusiciansexperiencedanddevelopedManipulativeAuralSkills.Thisenquiryhassoughttoobserveapproachesthatthemusicianshadtakentolessentheeffortassociatedwiththegenerationofauditoryimageryduringmentalimprovisation.Datapointingtohowthismightbeachievedhasbeenappliedinvariousapproachestoperformancepreparationinthesecondpartoftheproject.Inthesecondpart,practice-ledresearchisthemainresearchmethodbeingapplied.IterationandreflectiveanalysisofthedifferentprocesseshaveenabledthesystematicrefiningofanapproachtodevelopingManipulativeAuralSkills.

ThisresearchprojecthasyieldedmanyinsightsinrelationtohowManipulativeAuralSkillsmaybedevelopedandstreamlinedinprofessionalimprovisingmusicians.Ithasshownhowtheirdevelopmentandengagementcanbebeneficialtoamusician’screativepractices,andanefficienttoolforaffectingartisticoutcomes.

Session9

Agency–Environment

LeondeBruinMetaCognitionandDistributedCreativitiesinImprovisedMusicMakingRecentconceptualisationsconsidercreativitydistributedwithinindividual,collectiveandsocialnaturesoflearningandarguetheroleofsocialrelationsandtheenculturationanddevelopmentoflearningandcreativitywithinthisexperientialcontinuum.Thispaperdisseminatesresearchinvestigatingthecognitiveprocessesthatdevelopcreativitiesinmusicalimprovisers.Reportingonaphenomenologicalcollectivecasestudy,thestudyrevealedengagementanddevelopmentofcreativethinkingandshapingofimprovisatoryprocessesandexpressionacrossindependent,co-operativeandcollaborativeprocesses.Thestudyrevealsmultiplecreativitiesimprovisersdevelopandhoneinmasteringskills,strategiesandcreativeconcepts.Exploringthelived-worldexperiencesoffiveAustralianimprovisers,thepaperassertslearningandcreativityemergent

21

fromindividualandsharedexperiencesofplanningandprocessingofcreativities.Thestudyprovidesimplicationsforgeneraleducationandimprovisationeducationinparticular,concerningeffectivemetacognitivestrategiesandtheirimpactonimprovisedmusicalcognition,therefinementofcreativeprocessesandthewaycollaborativeactivityshapeslearningandcreativity.Thepaperpositstheimportanceofcollaborativemusicmakingthatdevelopscreativities,aswellasarguingforimprovisationstudiescentralandcoretoallmusicstudybeforedevelopingspecialismsinperformanceinsecondaryandhighereducation.RogerDeanAgencyandLeadershipinKeyboardDuoImprovisationAspartofaseriesofinvestigationsonimprovisersinaction,wehavestudiedtheiragencyasdirectedtotherealisationofsimplepre-specifiedmusicalreferentstructures(inbothsoloandduokeyboardperformances),andasexpressedinleadership(induoperformances).Notsurprisingly,wefindthatprofessionalimproviserscanefficientlygeneratecomputationally-identifiablerealisationsofsimplereferentstructures.Wewilldiscussevidenceconcerningchangesintheirattentionandarousalinthekeyperiodsinwhichtheyachievethesectionalstructuraltransitions.Inthecaseofduoperformances,wearecurrentlyanalyzingtowhatdegreetheperceptionsofleadershipdifferbetweenthetwoparticipants,eitherwhenoneisrequestedtolead,orwhentheleadershiptaskisshared;andinbothreferent-basedandfreeimprovisations.Wealsocomparetheperformers’perceptionsoftheresultantmusicalpieces,withtheperceptionsofuninvolvednon-musicians.Statisticalanalysisandcomputationalmodelsprovidefurtherinsightintopossiblemechanismsinplay.Thestudywillgivecluesastothecapacityofperformerstocontrolmusicaloutcomes,andthedegreetowhichthoseoutcomesareperceivedbyindependentlisteners.BruceJohnsonBringingUpTheBodies:CognitiveagencyinjazzIntheperformanceofjazz,whoarethedrivingagents?Itisatruismthatproductionandconsumptionofjazzinperformancecannotbeabsolutelydistinguished.Notonlyothermusicians,butalsoaudiencesinterveneinjazzperformancethroughtheirresponses.Yetthedominantmodelofagencyinthejazznarrativestillborrowsfromthe“highart”traditioninprivilegingthemindofthe“genius”asthemasterinfluenceonthehistoryofthemusic.Recent“master”historiesofjazzcontinuetostructuretheiraccountsaroundasuccessionofmusicianswhoseworkisshapedbyasingular(andpredominantlymale)intelligence.

Thispaperchallengestheadequacyofthisaccountofhowjazzperformanceandhistoryaredriven,bydrawingonreconfiguredunderstandingsofthemindincreativeprocesses.Recentdevelopmentsincognitivetheoryarguethattheconceptofthemindshouldextendbeyondthecontentsofthebrain-pain.Thesemodelsrepresentareactionagainstthecenturies-olddistinctionbetweenmindandbodyandretrieveanunderstandingofcognitionasaprocessthatoperatesthroughextendedsystemsembracingbody,materialobjectsandhumangroups.

Thispapertakestheseargumentsastepfurther.Itarguesthatwhilesuchenquirieshavelargelyframedcognitioninvisualterms,sonicmodalitiesarefarmoreappropriatetotheirarticulation,andmorespecificallycollectiveimprovisationalmusicpractices.Apartfromwhatthestudyofjazzmighttellusaboutculturalhistoryandtheemergenceofmodernity,itisalsoapracticethatprovidesaninstructiveentrypointintotheemergingtheoriesofextendedmind,and,inafieldofculturalstudyincreasinglydominatedbymediations,itreaffirmsthecentralityofliveperformanceinthepracticeandunderstandingofjazz.

22

Session9QuestioningAgency

AndrysOnsmanToExpressYourself:AgencyandIdentityinImprovisedExperimentalMusicInthispaper,Iaimtopresentacogentargumentastowhyinanimprovisedmusicperformance,thecapacitytoexpressyourselfiscontingentupondistributedagencyasmuchasitdependsoncreativityandexpertise.Self-expressionisatangiblerepresentationofpersonalidentity;thatuntidycerebralimbroglioofdynamic,competingandcontradictoryfactorsthatreactstoinputwitharangeofresponsesrangingfromthereflexivetothedeliberate.First,Idefineagencyinthecontextofimprovisedexperimentalmusic.Second,Iexemplifydistributedagencyincollaborativemusicmaking.Finally,Ipositsomepotentialimpactsofdistributedagencyonmusicalexperimentationasamulti-disciplinaryactivity.SageHarlowTheIllusionofFreeWillandItsImplicationforImprovising(andInvocation)Thispapertakesasastartingpointtheideaoftheillusorynatureoffreewillandexploreswhatthismeansfortheideaofagencyinimprovisation.SamHarris'bookFreeWilleloquentlyandsuccinctlypresentstheargumentsfromcontemporarypsychology,neuroscienceaswellasmeditationpracticetomakeaconvincingcaseforadeterministicuniverseinwhichanynotionoffreewillbecomesabsurd.Iconsiderwhatthismeansforideasofcreativityandagencyinimprovisationaswellasaconsiderationofhowthisrealisation—inpartfromreadingsandinpartfrommyownmeditationpractice—hasinfluencedmyownpractice.

Havingdiscussedthenotionoffreewillandimprovisationgenerally,IlookataseriesofworksthatIperformedrecentlyinwhichIsharedmyimprovisedritualmagickpracticewithasmallaudience.IntheseworkingsIhadtheexperienceoffeeling'possessed'bydifferententities(thatIfeelagnosticabouttheexistenceof)andfeltlikeanobserverofmyownperformances.Iconsiderwhatitmeansforaperformertosubmittheiragencytowhatfeelslike“anotherentity”.

Iconcludebyframinginvocationexperiencesas,perhapssurprisingly,notthatdifferentfromanyotherexperience;allexperiencesarise,seeminglyoutofnowhere,stayinourconsciousnessforsometime,andthenpassaway.Whiletheparticularitiesoftheseinvocationexperiencesfeltquitedistinctfrom'normal'reality,the“lackofagency”doesnotactuallydifferfromanyotherexperience.Assuch,theyperhapsofferawaytoexploreavisceralunderstandingoftheillusorynatureoffreewillthatmighthelpfreeusfromthisillusion.VincentGilesDeterminismandCreativeFreedominImprovisationTakingthenon-existenceofhumanfree-willasabasicassumption,thispaperproposesthat,contrarytointuition,actionasaresultofdeterministicphysicalprocesses,particularlyasitrelatestoimprovisedmusicmaking,permitsagreaterdegreeofcreativefreedomthanfree-willallows.Thissuggeststhattheindividualorcollectiveagencyinanimprovisatorycontextdoesnotexist.Instead,participantsarereactingtophysicalsystemsincontextmuchfasterthanwouldbeconsciouslypossible,asnotedbyAunger(2002).Theauthordrawsuponresearchintoneuroscience,physics,biology,andphilosophyofmind,notingthelogicalandmaterialbasesforclaimingthatallhumanactionisdeterminedbyphysicalsystemsandthus,thathumanfree-willdoesnotexist,aswellasresearchintoimprovisationandcognitivesystems,andtheexperienceofpractitionersofnon-idiomaticimprovisers.Barrett(2014)drawingonBailey(1980)defines

23

freeimprovisation(nonidiomatic,asopposedtomanyoftheidiomsofimprovisationsuchasjazz,baroque,Carnatic,etc.)as'amethodofmusicalcreationinwhichtheframeworkitselfisbroughtintobeingatthetimeofperformance,ratherthanexistinginadvanceofit.'Thisframework,inadeterministicview,isdefinedbythecontextandlived-experiencesofeachparticipant.Withoutsomekindofpre-definedstartingpoint,wemustconcludethatintentiontobegin/playarisesasaresultofphysicalandsocialcontext,andthatthecausalchainofcreativitybeginssomewhereinthephysicalcontext,includingthebrainsofparticipantsbutnotintheirconsciousimagination.Thechoiceto"act"inthatcontext–otherwisecalled"freewill",asdiscussedbyDanielDennett(2003;2009;2015)amongstothers–isanillusionofconsciousnessandourbrain'sinteractionwiththephysicalworldviaourbody.

Session11

IndividualAgency–AustralasianContextAndrewRobsonStompin'theAustralBlues:McGann,EvansandSimmondsasAgentsofChangeInmy2016doctoralthesisIarguethatfrom1973anewunderstandingofjazzexpressionbegantoproliferateintheglobalsouth.Todescribethiscreativeshift,Icoinedtheterm“AustralJazz”asawayofdissolvingnationalistboundariesanddivisions,inrecognitionthatcreativeinteractionsflowacrosssuchlines.Acriticalfeaturedrivingtheevolutionof“AustralJazz”wasamoveawayfromdiasporicnotionsofjazzexpressionstowardsthemusic’sabilityto‘self-fashion’whathadalreadybecomelocal.

Thispaperdevelopsthe“Austral”narrativebyarguingthatbytheearly1970s,thetwelvebarblues,aquintessentialjazzform,hadbecome‘local’andwasnowavehiclefortheself-fashioningprocess.ThebluesbasedcompositionsofthreeAustralmusiciansareexamined;saxophonistsBernieMcGann,SandyEvansandMarkSimmondseachofwhommadeconsiderablecontributionstothedevelopmentof“AustralJazz”.Whilethecreativepracticeofthesethreecomposer/performersismarkedlydivergent,allthreemusiciansweremembersofthesamelocalAustralsceneandwereactiveconcurrently.Thepaperarguesthatthecomposer/improviserisabletoassertagencyintwoways;directly,asaparticipantduringliveperformanceandindirectly,throughthesurrogateofthecomposition(laterperformancesbyothers).Morebroadly,thepaperexaminesthecomposer/performer’sengagementwithandresponsetothebluesformasawayofunderstandingthedevelopingAustralengagementwithjazztraditions(suchastheblues)whilesimultaneouslyadaptingthemtoexpresstheirownconceptions.

Throughcompositionalandimprovisationalanalysis,conclusionsaredrawninrelationtothecreativepracticeoftheseartistsandhowcreativeagencycanbemanifestintheimmediacyofreal-timeperformanceordelayedandstoredwithinamusicalcomposition.Thepaperassesseshowthebluesformbecameavehiclefor“self-fashioning”withintheevolving“AustralJazz”scene.AleishaWardMakingJazzMaori:UsingCulturalAgencytoLocaliseJazzFromtheearliestyearsofjazzinNewZealandMāoriandPākehāmusicianshaveincorporatedMāori,music,language,instruments,andaesthetics/culture(tikanga)havebeenintotheperformanceofjazz.Thefirstlocallyproducedjazzrecording(afilmratherthananaudiorecording)in1930featuredapopularMāorisong,EPuritaiTamaE(alternativelytitledHePuru

24

Taitama)thathadbeen“jazzed”,ratherthanarecognisedjazzsong.ThesongwasperformedinfrontofthepāatthereplicaMāorivillageofWhakarewarewainRotorūabyMāori-SyrianmusicianEpiShalfoonandhisMelodyBoysband.Morerecently,TeReo(theMāorilanguage)hasbeenusedasthelanguageforjazzsongs(forbothoriginalsongsandtranslationsofstandards)andtaongapuoro(traditionalMāoriinstruments)havebeenusedinjazzcompositionsandperformance(especiallyinfreeimprovisationcontexts).Infact,theearlytwenty-firstcenturysawanintensiveperiodofNewZealandjazzmusiciansembracingMāoritraditionalinstruments,language,andtikangaasawayoflocalisingjazzintheNewZealandcontext.

Inthispaper,Iwilldelveintothetinorangatiratanga(self-determination)ofmusiciansutilisingMāoritikangaandtheirreasonsfordoingso.Centraltothisistheconsiderationoftheconceptofwhakamāori-tointerpret,translateorotherwisenaturaliseanobjectintoMāoriculture.ByexaminingtheincorporationofMāorimusic,language,instruments,andtikangaintothecreationofjazzbyMāoriandPākehāmusicians,IwillexploretheuseofwhakamāoriasameansoflocalisingjazzintheNewZealand(andspecificallyMāori)contextacrossthetwentiethandtwenty-firstcentury.

ChristopherCoadyTheAgencyofLivedExperienceinJazzHistoriographyOnedefiningstylisticelementofpost-structuralistethnographicstudiesofjazzpracticeistheacknowledgementthataresearcher’sinherentsubjectivityimpactsthecollectionandinterpretationofdata.Suchawarenessoftenleadstoanenquiryatleasttangentiallylinkedtotheresearcher’slivedexperience.Approachesinthisrealmrangefromthehoningofapersonal/subjectivelensthroughwhichvernaculardataisinterpreted–asIngridMonsondoesintheopeningpagesofSayingSomething(1996)–totheutilizationofthe“selfassubject”duringthedatagenerationphaseofaproject,asPaulBerlinerdoesinThinkinginJazz(1994).

Yetitispossibletoseeamoresubtleformofsubjectivityembeddedintheverycoreofasupposedlymoreobjectivebranchofjazzstudies:jazzhistoriography.Thiscriticalbentisevidentinthesimplefactthatjazzhistoriansselectparticularsubjects–typicallymovements,eventsorartists–andchoosetotellparticularstoriesaboutthesesubjects.Often,authorspointtoexperiencesofparadoxorepiphanywithintheirownlivedexperienceastheinspirationforsuchinvestigations.Occasionally,suchfirst-handfamiliaritywillthencolourthepresentationofevidenceinsupportofaparticularargument.Inthispaper,Ichartoutthewaysinwhichfirst-handfamiliaritywithvariousdevelopmentsinjazzseemstohaveinfluencedthewayinwhichseveraljazzhistorianshavetoldstoriesaboutthemusictheystudy.DrawingparallelstowhatGuthrieRamseyreferstoas“professional”and“confessional”blackness,Ithenposeaseriesofquestionsaboutthetypeofknowledgegeneratedwhensomeonewithoutfirst-hand“lived”knowledgeaboutajazzeventendeavourstoputforthanhistoricalcritique.Suchaninvestigationhelpsshowthatalljazzhistoriographyisinformedinone-wayoranotherbylivedexperiencebutthattemporalproximityordistancetoeventscanattimesimpactthequality–althoughnotthevalue–ofthedatapresented.

25

Session12PostGraduate

MichaelBradyEnsembleRolesintheContemporaryJazzGuitarTrioInthispaper,IexplorethetrioworkofWolfgangMuthspiel,whichcanbeconsideredinnovativeanddistinctiveinregardstotheorganisationofinstrumentalparts.Withaviewtoperformance,thispaperconsidershowtherolesofeachinstrumentalistinthetrioarenegotiatedinthismusic.Currentlythereisalackofliteratureregardingnatureofensemblerolesinjazzguitartriopractice.Mostcurrentmodelsofjazzensemblepracticerelyonacleardistinctionbetweensoloistandrhythmsectionroles,primarilydiscussingformatsofaquartetorlarger.Duetotheabsenceofguitaristsandunder-representationoftriosintherecordingsfromwhichthesemodelsarederived,theypresentseverallimitationsinunderstandingperformancerolesinthejazzguitartrio.Withinthispaper,IexamineMuthspiel’s2014trioreleaseDriftwood-featuringdrummerBrianBlade&bassistLarryGrenadier-asacasestudyofhistriowork.Inmyanalysis,IdrawcomparisonwithmodelsofjazzensemblepracticepresentedbyBerliner(1994),Monson(1996),andHodson(2007).Inexaminingtheorganisationofensemblepartsintheserecordings,Icontrasttheindividualmusicalcontributionsofeachinstrumentalist,withtheagenciesconveyedinthecurrentliterature,drawingoutboththelimitationsandstrengthsofthesemodels.Fromtheanalysisoftheinstrumentaldispensationintheserecordings–Idemonstratethattheagenciesofinstrumental“voices”aredistributedbothmoreevenlyandwithgreatervariabilitythanpreviouslyindicated.Whereextantensemblemodelscanbeobserved,theyoccuraspartofavaried“vocabulary”ofapproachestothetrioformat.Thisrangeinvocabularycanbeobservedeitherwithinsinglepieces,orbetweenpieces.Giventhis,itisproposedthatratherthandevelopinganormativemodelforensemblepractice,literatureshouldmovetowardsunpackingcase-studiesofspecificgroupsofnotes,understandingthemfortheirspecificitywithinagenre.

JonathanZionOrganicInterplayinaJazzTriocontext:IdentifyingInteractive,CommunicativeLanguageThislongitudinalPracticeResearchseekstodiscoverhowtheperformanceofajazztriopresentsasadialogical“other”reflectingandcontributingtotheensemblemembers’evolvingmusicalprocesses,themusicproducedandthemotivationtocontinueincreativecollaboration.Drawingfrommyownuniqueexperienceasaparticipantinthemusicmakingprocess–abassplayerinajazztrio–thisstudycommencesfrommysubjectiveviewpointandexpandsthroughperformancepractice,literature,formalmusicalanalysis,andethnography.

Interaction,consciousnessandembodimenthavearelationalcontributiontoorganicmusicmakingprocesses,specifically,engagingimprovisationasamediumforreachingbeyondourregularstateofbeing.ThisPracticeResearchfocusesonembodiedconsciousnessascentraltoreflexiveandpre-reflexiveperformanceexperience/action.Itis,Ipropose,theintertwiningofperception,thoughtandactionfrommomenttomoment,inthecontextofanensemble’ssharedperformancehistorythatunderpinsmeaningfulmusicalcommunicativeexpression.ThisphenomenoniscentraltoenablingwhatIcall“organicinterplay”inmyensemble,theLukeHowardTrio,andwillberevealedusingheuristicmethods.

26

DanielGoughAgencyandAutonomyinTertiaryJazzPianoStudents’PracticeRoutinesAccordingtodominantnarratives,“jazzcannotbetaught”inanyconventionalway(Whyton,2006,p.69).Rather,itisbelievedthatjazzmusicianslearnasaresultoftheirownagency,thatis,they“discover”jazzskillsandknowledge.PaulBerliner’sseminalstudyrevealedthat,“thejazzcommunity’straditionaleducationalsystemplacesemphasisonlearningratherthanonteaching,shiftingtostudentstheresponsibilityfordeterminingwhattheyneedtolearn,howtheywillgoaboutlearningandfromwhom”(Berliner,ThinkinginJazz,p.51).Itappearsthenthatajazzmusician’sidentityisgroundedinhisorherdailypractice,yetthereisnoestablishedapproachorpathwaytoreachthisartisticgoal,aseachmusicianrespondsdifferentlytoadviceandschemesofferedbyvarioussuccessfulpractitioners.Theguidingprinciplesappeartobeindividuality,self-discovery,musicalresponsibility,agencyandautonomy,metacognition,andtheapplicationofcreativity.ThispaperdrawsondatacollectedfromoneoftheeightparticipantsinmycurrentPhDstudy,whichinvestigatesthewaystertiaryjazzpianostudentscometounderstandhowtopracticeandperformjazz.ThelargerstudyinvestigatesjazzpianistsenrolledattheSydneyConservatoriumofMusic,astheylearnoverthecourseofoneweektoperformtwostandards,“InYourOwnSweetWay”and“Oleo”.Themethodologyinvolved“flyonthewall”videorecordingsofpracticeandperformancesessionsaswellasinterviews.Resultsemergingfromthestudyindicatethatalltheparticipantsrehearsedthesetpiecesaccordingtofourspecifictypesofjazzpractice(i.e.Form,Harmony,Improvisation,Listening)bywhichthisstudyidentifiesastheModesofJazzPractice.DerivedfromtheModesofJazzPractice,thestudyfurtheridentifiesindividualisedJazzPracticingConceptswhichrefertointrinsic,creativeandidiosyncraticpracticeapproachesthatwereeitherself-discoveredmetacognitivelyorgleanedfrommethodbooks,teachersandothermusicians.Correspondingly,thestudyalsoidentifiesPracticingStrategies,whichrefertoextrinsicpracticingvariablesrelatedtogeneralmusicpracticesuchasmemorisation,repetition,and(inrelationtothepiano)workinghandsseparately.ZoeKilbournRe//citere//citeisaseriesofprojectsinvolvingthemediation,manipulation,andcreativedestructionofrecordingsfroma2013classicalperformancerecital.Throughliveprocessing,collage,andimprovisedperformance,thephysicalremindersofanegativemusicalexperiencewillformthefoundationsofanewmusicaldirection.re//citewillresultinapoolofmaterialsandstrategiesforliveimprovisedperformance,includingafour-nightperformanceseriesthroughToneList’sResidenceprogram(TBA),anEPrelease,andaseriesofgraphicscores.re//citeiscurrentlybeingdevelopedwithsupportfromPropelYouthArtsandToneList,andisdueforcompletioninAugust.Whilere//citewillserveasanopportunitytofurtherdevelopmypublicandcollaborativeperformancework,onapersonalleveltheprojectwillexplorestrategiesforovercomingtheanxietyinculcatedbyclassicalperformancestandards.Throughfreeimprovisatorystrategiesthatencourageradicalnaivetéandsimplicity,thebreakingdownoftraditionalperformancestandards,andcollaborativeexperimentation,Ihavealreadyovercomealotofthehang-upsthatpreventedmefromplayingmusicforalmostthreeyears.Forthisproject,IwillexploreelectronicsandalgorithmicsoftwaretoreworkthematerialI’vedistancedmyselffrom,“mask”thecultivatedvoiceofclassicalperformance,andbuildontheperformancefoundationsthathavebeenstymying.Iintendforthisprojecttoexplorethewaysartmusiccanserveatherapeutic,intrapersonalpurpose,wheretheinstitutionaltendencyistofocusonitsabstractexploratoryaspects.Improvisation,especiallycollaborativeplanning,practice,andperformance,hasbeenessentialtomymusical“recovery”,inwaysthatrundirectlycounterto

27

traditionalartmusicapproaches.ParticipationinAJIRN-especiallygiventheconference’sfocusonagency-wouldbeanexcellentopportunitytolearnfromothersandsharesomeofmyexperiences.ShouldIbeconsideredfortheconference,Iwouldlovetoperformand/orpresentashortpaperonthere//citeproject.JoshuaHatcherComposinginConversationThispaperisextractedfromthe1stof3iterativephasesfrommyMasterofMusicResearchinCompositionattheQueenslandConservatoriumofMusic(current).Theprojectexaminesimprovisers’agencyinperformancebyexploringdesignincompositionsandgesturesforjazzquartet,andinthiscase,aclose-knitgroupofmusicians.GrahamCollier’s“TheJazzComposer”wastheconceptualstartingpointforthisresearch,discussingatlengththelimitedwaysinwhichmostcompositionsuseimprovisation.ThedesignofthisstudyhasbeenbasedonDerekBailey’smethodologyinassemblinghislandmarkwork“ThinkinginJazz:TheInfiniteArtofImprovisation”,incorporatingrehearsalsandperformanceswiththeparticipants(ofwhichIamone),andparticipantinterviews.Recordingsofsignificantjazzcompositions,practicesandperformanceswereusedtoidentifyidiosyncraticapproachestoorganisingimprovisationsuchasWayneShorter’s“Nefertitti”featuringmelodicghosting,Shorter’scomposition“Barracudas”featuringahemiolarhythmasmelodiccontentoverashortformwithmodalharmony,MilesDavis’andBillEvans’useofindeterminateharmonicrhythmon“FlamencoSketches”,Kneebody’scuingsystemandthehighlyinteractiveapproachoftheMilesDavisQuintet’sliveperformancesofstandardsduring1963-65.Thestudythenproceededbyinvestigatinghowtointegratethisnewensemblevocabularyintomyexistingcompositionallanguagebyworkingwiththeparticipantstodevelopconceptualsketchesintonewidiosyncraticvehiclesforimprovisationthatdirectparticipants’creativitytowardparticularmusicalelements.Theplayers’responsestoasketchwereasimportantastheconceptbehindthesketchindeterminingwhatshouldbecomposedtoarriveatthefinaliterationofapiece.Assuchthiscollaborativeapproachattemptedtoemulatetheinteractionpresentbetweenmusiciansinajazzperformance.Severalrecurringthemeswereidentifiedandwhencombinedwithmyownreflectionsonevolutionofthecompositionsandthegroupapproach,usingrehearsalandperformanceaudiorecordings,andtheartisticproductsofthecompositionsthemselves,possibleavenuesofinvestigationwereidentifiedforthe2ndphaseaswellasimprovementstotheprocess.

28

Bios

MichaelBradyHavingperformedacrossarangeofjazz&contemporaryensembles,MichaelBradyhasdevelopedaneclecticrangeofexperiencesasayoungguitaristinSydney’slivemusicscene.Recentlythishasincludedperformingwitharangeofuniversityensembles,touringwithhisbandJackieBrownJr,andworkingwithhisTrio.Asaguitarist,MichaelhasstudiedunderSteveBrienandBenHauptmannInSydney,andCarlosJimenezinMontreal.Michaeliscurrentlyinhis5thandfinalyearofstudyattheUniversityofNewSouthWales,completinghisBachelorofMusic(Honours)/BachelorofEducation(Secondary).

FionaBurnettM.Mus.[Perf.]B.Mus.[Perf.]Dip.Ed.Sincemakingherperformancedebutaged14attheSydneyDomainin1985,FionaBurnetthasbecomerecognizedasasopranosaxophonespecialist,havingperformedinAustralia,Asia,Europe,CanadaandUSA.PerformingclubgigsinHongKongtostreetpartiesinHarlemanddancemusicartistsinLondon.FionaisanABCrecordingartisthavingreleasednineCDrecordingssince1996andreceivedAustraliaCouncilfortheArts,ArtsVictoriaandPlayingAustraliafunding.FionawasamemberoftheMusicBoardoftheAustraliaCouncilfrom2003-2006,acommitteememberfortheMelbourneWomen’sInternationalJazzFestival,1999-2003,andtaughtattheUniversityofMelbourne,VCA,2000-2007.ShewasendorsedasanartistwiththeGermancompanyKeilwerthandtheAmericanreedmakerRico.Fionawasafinalistinthe2002FreedmanFellowshipandhasreceivedAustralianMusicAwardandAPRAnominations.RobertBurke(PhDMonashUniversity)isCo-coordinatorofJazzandPopularStudiesatMonashUniversity.Animprovisingmusician,Robhasperformedandcomposedonover200CDsandhastouredextensivelythroughoutAustralia,Asia,Europe,andUSAoverthelast30years.Hehasalsoreleased11CDsunderhisownnameandhasfocusedoncreatingresearch,educationalandartistictieswithinstitutions,researchersandmusiciansinItaly,USA(NewYork),JapanandBrazil.RobhasrecordedwithGeorgeLewis,DaveDouglas,EnricoRava,HermetoPascoal,KennyWerner,MarkHelias,BenMonder,TomRainey,NasheetWaites,GeorgeGarzone,PaulGrabowsky,TonyGould,JohannesWeidenmueller,DebasisChackroborty,PauloAngeliandRichieBarshay.Rob’sresearchismainlyfocusedonpractice-basedartisticresearch,(jazz,improvisationandjazzpedagogy).Publicationsincludeco-editedbook,PerspectivesonArtisticResearchinMusic(Lexington)andcurrentlyco-writing(publishedlaterin2018)IdeaChasing:ExperimentationinImprovisedJazzwithAndrysOnsman.NicoleCanham(PhD)isaprofessionalmusician,festivaldirectorandscholar.SherecentlycompletedaPhDattheUniversityofQueensland,investigatingapproachestosustainablecreativepracticebyindependentclassicallytrainedmusicians.Otherareasofresearchinterestincludemusicianidentity,collaborationandvariousformsofcreativity,employability,andtheroleoftheindependentartistincontributingtowidersocialandartformchallenges.Nicolehaspresentedherresearchatleadingconferencesaroundtheworld,includingtheISMEWorldConference,Glasgowin2016.NicolehasperformedthroughoutAustraliaandabroadintheUSA,UK,France,Belgium,GermanyandMexicoasachambermusicianandincollaborationwiththeatre-makers,dancers,andmultimediaartists.ShehasalsoworkedasafreelancemusicianfortheSydneySymphony,AustralianOperaandBallet,TasmanianandCanberraSymphonyOrchestras.

29

ChristopherCoady(PhD,UniversityofNewSouthWales)isalecturerinMusicologyattheSydneyConservatoriumofMusic,theUniversityofSydney.HeisauthorofthemonographJohnLewisandtheChallengeof‘Real’BlackMusic(UniversityofMichiganPress)andisanactiveresearcherofbothhistoricalandcontemporaryjazzpractice.RodDaviesisthecoordinatorofPopularVoiceandalecturerinSongwritingattheSirZelmanCowenSchoolofMusic,MonashUniversity.GraduatingwithaBachelorofScience(PsychologyandPhysiology)fromMonashUniversityin1995,Davieshassincesustainedadiversecareerasaprofessionalvocalist,experiencingfirst-handthefullbreadthofliveperformance–asasoloartist,acommercialentertainerandabackingsingertoAustralianmusiciconsJohnFarnham,OliviaNewton-John,TinaArena,GuySebastianandMarkSeymour.Rod’sperformanceversatilitybehindthescenesisalsostrong-asasessionvocalist,(HeyHeyitsSaturday,1996-2010;DancingwiththeStars,2004-2015),musictheatreperformer(PianoMen,1996),writer(Pop!,1999),musicaldirector(KissingFrogs,2003;MinefieldsandMiniskirts,2005),andsongwriter(SONYMusicPublishing).Davies’areasofresearchfocusinclude:Vocalperformance(interpretation,trans-contextualisation,practice-basedmethodologies),healthandwellbeing(performanceanxiety,vocologyandvocalhabilitation).

JonathanDayworksasamusician,writerandimage-maker.HeisAssociateDirectorofResearchandAssociateProfessorofTransmediaArtsatBirminghamCityUniversity.HedirectsBirTH,theBirminghamTransmediaResearchHubandisvisitingprofessoratHongKongDesignInstitute,SilpakornUniversity,Bangkok,Thailand,andtheAcademyofDesign,Colombo,SriLanka.Jonathanhaspublishedthreebooks,aseriesofmusicalworksandnumerousarticles.Jazz,KantandZen:towardsaphilosophyofimprovisationwaspublishedlastyearbyBrill.HisreleasesincludePostcardsfromtheRoad(UniversityofChicago),AtlanticDrifter(ProperRecords),ThePoliticsofNavigation(VDM),CarvedinBone(ProperRecords)andTheStainofTime(AaltoUniversity).Hisworkhasbeencalled"Seductive,complexandpoetic"ARTnewsmagazine,NewYork,"Scratchingatthetranscendent"theIndependent,"Expansive,intelligentandeloquent"SouthChinaMorningPost,"Breathtakinglybeautiful"FolkRadioUK,"Visionary"fRootsmagazine,"Stunning"BobHarris,BBC.Pleaseseejonathanday.netLeondeBruin,Ph.DisateachingassistantinEducationatMonashUniversity,FacultyofEducationandhascompletedstudiesinperformanceandeducation(B,EdMusic,L.R.S.M,A.Mus.A)andworksprimarilyintheareasofeducation,creativity,performance,musicandperformingartsanddigitaltechnologies.Leonworksprofessionallyasamusician,composerandeducator,andhaspublishedinnumerousinternationalandnationalrefereedjournals.Hereviewsforanumberofwell-respectedjournals,andhaspresentedpapersatinternationalmusic,creativityandeducationconferences.HehasbeentherecipientofaPostgraduatePublicationsAward2016(PPA)andtheMonashEducationResearchConferencePublicationAward(2016).JohnFitzgerald(AssociateProfessor)isanexperiencedsocialresearcherspecializinginstudiesofmarginalizedpopulations.HeresearchesintheSchoolofSocialandPoliticalSciencesattheUniversityofMelbourneandhasledwithAdamSimmonstheMelbourneMusicMapproject,asocialnetworkanalysisofthenetworkcharacteristicsofacohortof100Melbournemusicians.HehasalsoworkedwithAdamSimmonsoverthepast2yearsdoingsoundworkshopswithprimaryschoolstudentsandmarginalizedpopulations.

30

MaceFrancis(EdithCowanUniversity,WA)isapassionateadvocateoforiginalAustralianlargeensemblejazzmusic,forminghisown14-pieceensemblein2005–theMaceFrancisOrchestra(MFO).MFOhaverecorded6CDs,tourednationallyfourtimesandperformedwithinternationalartistsJimPugh(USA),JonGordon(NY),JohnHollenbeck(NY),SatokoFujii(JAP),EdPartyka(GER)andTheoBleckmann(NY).ForhiscompositionsMacehasbeenawardedanAPRAProfessionalDevelopmentAward,theItalianinternationalcompositionprize,"ScrivereinJazz",wasafinalistinthe2010FreedmanJazzFellowshipandAustralianBellAwards(2013&2016)andwasthe2015winneroftheAPRAJazzWorkoftheYear.Macehasworkedasguestcomposerandconductorwithl’OrcehstredesJeunesJazzmendeBourgogne(France),theGrazComposersEnsemble(Austria)andtheShowaUniversityofMusicBigBand(Japan).MacecurrentlyworksastheartisticdirectoroftheWAYouthJazzOrchestraandhasrecentlycompletedaPhDexploringsite-specificcompositionofwhichhereceivedthe2015FacultyResearchMedal.NickFreerisaMelbournebasedguitaristandcomposer.HehasworkedextensivelyasajazzandmodernguitaristinnumerousensemblesbothdomesticallyandinternationallyincludingJapan,Thailand,Macau,China,theUSA,Vietnam,Singapore,Malaysia,Korea,HongKongandGermany.AcademicallyNickholdsaPostGraduateDiplomainPerformancefromtheVictorianCollegeoftheArtsandaMasterofArtsinMusicPerformancedegreefromMonashUniversity.CurrentlyheisundertakingaPhDinMusicologythroughMonashUniversitywitharesearchfocusonposttonalharmonyinmodernjazz.Aspartofhisthesis,Nickisdevelopingamixedontologicalmethodofmusicanalysisaimedspecificallyatexplicatingorganisationcoherenceinposttonaljazzharmony.ResearchinterestsincludeMusicAnalysis,MusicTheoryandGeometricMusicmodelling.VincentGiles(PhD)isacomposer;atinkererwithacousticandelectronicsoundinthecontextofconcertmusic,electronicmusic,installation,andfreeimprovisation.Hisworkisstronglyinfluencedbythenaturalworld,science,andmathematics,andheenjoyscompositionalrestraintsasamodeofcreativity.Vincent’sworksareoftenstructurallycomplex,employingwhathecallspolyphonyofformmeaningthatmanysuperimposedformsinteractpolyphonically,reflectingthecomplexityoftheuniversewelivein.VincentisanartisticdirectorofTildeNewMusicFestival,teachescompositionattheAustralianInstituteofMusic,isrepresentedbytheAustralianMusicCentre,andisonthereviewpanelforWirripang.Heenjoyscookingveganfood,drinkingcoffee,andbeingarecluse.DanielGoughisajazzpianistandPhDcandidateattheSydneyConservatoriumofMusic(UniversityofSydney).Hisresearchexploreshowindividualtertiaryjazzpianostudentspursuetheirgoalofbecomingaprofessionaljazzpianistthroughtheworktheyundertakeinthepracticestudio.SageJHarlowMysingingpracticetakesinspirationfromTuvanandMongolianovertonesinging,Inuitthroatsinging,soundpoetryandanongoingexplorationofextra-normalvocaltechnique.Ialsotakeinfluencefromindustrialmusick,trance,anddrone;insightmeditationpractice,urbanshamanismandchaosmagick;andDiscordianism.Asaresearch,Ihaveinterestsinfeminist,queerandtranspolitics,intersectionalityandethicalengagementswithpostmodernculture(s),withafocusonwritingagainstnormativenarratives.Acriticalengagementwiththeethicsofperformance,culturalappropriationandprivilegeformthecoreofmypraxis.IundertookaPhDattheWestAustralianAcademyofPerformingArtsin2016exploringtheintersectionof,

31

improvisedchaosmagickritualandBuddhistinsightmeditationwithinthegenreoffreeimprovisationwithextra-normalvocaltechnique.IpreviouslyobtainedanMLittfromGlasgowUniversityandaBAwithhonoursinLinguisticsandEnglishLiteraturefromtheUniversityofWesternAustralia.JoshuaHatcherisaBrisbane-basedsaxophonist,educatorandcomposer.In2015hereleasedhisdebutalbum“NowandThen”featuringoriginalmusicwrittenforhisquintetandin2016wastheComposer-in-ResidencefortheWestAustralianYouthJazzOrchestraandasemi-finalistintheNationalJazzAwards(saxophone)inWangaratta.HislargeensemblecompositionsandarrangementshavebeenrecordedonseveralreleasesbyBrisbane’sEnthusiasticMusicians’Orchestraandanewrecordingfeaturinghisquartetisplannedforreleaseinearly2018.HeiscurrentlyundertakingcandidatureforMasterofMusicResearchattheQueenslandConservatoriumofMusic,GriffithUniversitysupervisedbyLouiseDensonandSteveNewcomb.InadditiontoabusyperformingscheduleheisalecturerinSaxophone,TheoryandEnsembleSkillsatJazzMusicInstitute,ArrangingatJMCAcademy,andasessionalensembleteacherattheQueenslandConservatoriumofMusicandQueenslandUniversityofTechnology.BruceJohnsonFormerlyprofessorofEnglishattheUniversityofNSW,BruceJohnsoncurrentlyholdshonoraryprofessorshipsinDepartmentsincludingMusic,CulturalHistory,CommunicationsandMediaintheuniversitiesofGlasgow,Turku(Finland)andUTS,UNSWandMacquarieinAustralia.Hehaslongbeenactiveasajazzmusician,award-winningbroadcasterandrecordproducer.Asgovernmentadvisoronmusicpolicy,hisworkincludedthelegislation-changingreportVanishingActsonlivemusic,co-authoredwithShaneHoman.Hewasprimemoverinestablishingthegovernment-fundedAustralianJazzArchive.Heco-foundedtheInternationalInstituteforPopularCultureinFinland,andisontheeditorialboardsofsomehalfdozenoftheworld’sleadingacademicmusicjournals.Hisacademicpublicationsnumberseveralhundred,includingauthor/editorofoveradozenbooks,amongthemostrecentofwhichareonpopularmusicandviolence,jazzandtotalitarianism,andsound,memoryandspace.ZoeKilbournisanemergingmusicianfromPerth,WesternAustralia,interestedinfreelyimprovisedandelectronicallymediatedperformance.AftermajoringinclassicalperformanceattheUniversityofWesternAustralia,ZoeworkedinjournalismandthepublicservicebeforereturningtothesaxophonethroughTura’sImprovworkshopprogram.Since2016,ZoehasperformedimprovisedmusicatOutcomeUnknown,Noizemaschiin,AutomaticSound,ClubZho,Live@theLibrary,andInThePines,andparticipatedintheTilde~NewMusicAcademy.SheiscurrentlyworkingonarecordedreleasewithsupportfromtheToneListcollectiveandPropelYouthArts.SomeofZoe’scollaborativemusiccanbeheardhere:https://soundcloud.com/1and2and.AlfredoLopeshasbeenperformingandwritingjazzrepertoiresincehisstudiesatSydneyConservatoriumofMusicin1993.In2012hecompletedanHonoursexegesisatSouthernCrossUniversity:TheharmonicexplorationsofJoeHenderson:Astudybyaprofessionaljazzmusicianonhiscontributiontothemodernjazztenorsaxophonesound.HeisnowatQueenslandConservatoriumofMusic,studyingwithjazzcomposers/educators,DrStephenNewcombandDrLouiseDenson,developingaD.M.Aexegesis:Compositionsas‘experiments’:Investigatingcreativedesignasacomposer,playerandleaderinasmalljazzensembleperformance.Hehasworkedwithandco-ledmusicensembleswithsomeofAustralia’sbestjazzmusiciansincluding:GeorgeGolla,JudyBailey,CraigScott,AlanTurnball,MarkIsaacs,PaulMacNamara,BernieMc

32

Gann,JohnMorrison,JeffUsher,MattMcMahon,SeanWayland,JanRutherford,CathyHarleyandSharnyRussell.KarlinLoveisacomposer,multi-instrumentalistandsemi-perpetualstudentwithaBA(SocialWork)fromSeattlePacificUniversity,USA,aBMusfromtheUniversityofWashington,USA,whereshestudiedclarinetwithWilliamMcCollandWilliamO.Smith,anMA(hons)incompositionthroughtheUniversityofWollongong,andaPhDinthepedagogyofcompositionthroughTheUniversityofQueensland.KarlinmovedtoAustraliain1989aswoodwindlecturerattheUniversityofTasmaniainLauncestonwhereshetaughtclarinet,saxophone,theory,compositionandimprovisationuntil1997.Sheisnowafreelanceperformer,composer,teacherandresearcher,workingonprojectsinvestigatingmusicians’earlycareerdevelopment.Hercompositioninterestsincludeexploringinterestingsoundspacesandcollaborationswithvisualartists,aswellaswritingforyoungandamateurmusicians.SheleadstheChordwainersleatherinstrumentensemble,theTasmanianClarinetQuartet,andperformswithlocaljazz,experimentalandclassicalmusicians.JohnMackeyisknownasaperformer,composerandeducator.HehasbeenlecturingattheANUSchoolofMusicsinceJanuary2000.JohnwasnominatedfortheFreedmanJazzPrizein2001andhasrecentlybeeninvitedintotheHigherEducationAcademyintheUKasaSeniorFellowandisexcitedaboutarecentco-inventionwiththePhysicsandEngineeringDepartmentatANU.HeiscurrentlyhalfwaythroughhisPhDbasedatECU,Perth,WA.HistopicisresearchingExtendedApplicationsofthePentatonicScaleandproposinganewmodalconcept.Johnhasperformedwithmanyartistsinlcuding:RayCharles,B.B.King,DameKiriTekanawa,KurtElling,KendrickScott,NatAdderley,EddieHenderson,RoyHargrove,RedRodney,LewTabackin,ToshikoAkiyoshi,KennyWerner,BobMintzer,RichieCole,JohnnyGriffin,AlCohn,WoodyHerman,RalphMoore,MarkLevine,DonRader,RonnieScott,JimMcNeely,KennyWerner,MikeNock.CharlesMacInneswasawardedthepositionofprincipalbasstrombonewiththeAustralianOperaandBalletOrchestrainSydneyin1985attheageofnineteen.FouryearslaterhemovedtoGermanytofurtherhisstudieswithProf.JoachimMittelacherattheHamburgHochschulefürMusikundTheater.AfterworkingfortwoseasonsinatraineepositionwiththeHamburgStateOperaOrchestra,heplayedforeightyearsasaregularguestwiththeNorthGermanRadio(NDR)BigBand.SincereturningtoAustraliain2000,hehasperformedwiththeAustralianChamberOrchestra,AustralianArtOrchestra,MelbourneSymphonyOrchestraandasastudioandtheatremusician.CharleshaslecturedattheVictorianCollegeoftheArts,MonashUniversity,AustralianNationalUniversityandTheUniversityofMelbourne(includingtwoyearsasHeadofBrass).HehasaMastersinCompositionandiscurrentlyundertakingaPhDresearchingimprovisationinnewmusic.SamMcAuliffeisanactiveperformerofimprovisedavant-gardemusicandisanactiveresearcherinthefieldofcriticalstudiesinimprovisationandperformancestudies.SamcompletedhisMA(100%research)atMonashUniversityinMelbourne,Australiawhereheinvestigatedhowsoundsoftheenvironmentcouldinformanimprovisatorymusicpractice.HecurrentlyresidesinTasmaniaandteachesguitarandimprovisation.

33

JordanMurrayisalecturerinJazzandPopularStudiesatTheSirZelmanCowenSchoolofMusic-MonashUniversity,Melbourne,Australia.JordanisagraduatefromWAAPA–EdithCowenUniversity,VCA–MelbourneUniversityandcurrentlyaPhDcandidateatMonashUniversity.Jordan’sPhDpractice-ledresearchfocusesonpracticalapproachestofreeimprovisation.TomO'HalloranleadstheJazzPianodepartmentattheWesternAustralianAcademyofPerformingArts(WAAPA)atEdithCowanUniversity,andlecturesinjazzcompositionandimprovisation.HeholdsaMasterofMusic(composition)fromtheSydneyConservatoriumofMusic,andplanstostartaPh.D.imminently.HisFutureresearchinterestsare:hybriditywithinjazzworks,multi-disciplinedapproaches,technologyandmovingimagewithinjazzandintegratingbitonalitywithinjazzimprovisationandcomposition.TomrecentlyreceivedanAustraliaCouncilgranttocomposeandrecordanalbumentitledNowNoise–forhisgroupMemoryofElements.Hehastwojazztriorecordstohisname,andWeHappyFewwonthe2009ABCLimelightMagazineawardforbestjazzachievement.HerecentlycomposedapieceforsixpianosentitledDrumkit,andin2012wasnominatedforanAPRAAustralianArtMusicAwardforhispieceDissolve,fortwopianos.oignoredAndrysOnsmanisawriter,musicandacademicwithabackgroundincognitivepsychologyandaninterestinperformance,translationandcross-disciplinarity.Hehaspublishedwidely,includingfourbooksaswellasnumerousjournalpapersandconferencepresentations.Hisworkhasbeendescribedaschallenging,unflinchingandentertaining.HeiscurrentlywritingabookonexperimentalandimprovisedjazzwithRobertBurke.BenPhippsisabassplayer,sessionaltutorandfinalyearPhDcandidateinmusicattheUniversityofNewSouthWales.Hisresearchinterestsincludeimprovisationandculturalhybridityandcentrearoundtheirrelationshiptopracticesandrolesinmusicalperformance.AndrewRobsonsaxophonistandcomposer,AndrewRobsonisconsideredtobeoneofAustralia’spremierjazzmusicians.AnARIAawardwinnerandarecipientoftheFreedmanJazzFellowship,heperformsnationallyandinternationallywithgroupsincludingthePaulGrabowskySextet(winnerofthe2014ARIAaward),MikeNock’sBigSmallBand,TenPartInvention,theWorldAccordingtoJamesandhisowngroups.Andrewhastouredwidelywithnumerousensemblesandhasperformedatmajorjazzfestivalsincluding,Chicago,BerlinandAustralia’sWangarattaFestivalofJazz.AsaleaderAndrewhasreleasedanumberofcriticallyacclaimedalbums,includingmostrecently(in2016),TheChildBallads.In2016,AndrewwasawardedaPhDbytheUniversityofSydney.Histhesisproposesanewtheorizationofjazzhistoriography,onethatunderstandsjazzasaglobalformthatmanifestsinplurallocalexpressions.AndrewcurrentlylecturesinmusicatMacquarieUniversityinSydney.DaniloRojasisapianist,composer,musicproducer,educatorandresearcher.!FromBolivia,andafamilyofmusicians,DanilohasreleasedalbumsincludingCD/DVD,“JazzinBolivia”,“Lunar”and“MúsicapopularBoliviana”.!Asaneducator,DanilotaughtpianoforsevenyearsattheNationalConservatoryofBoliviainthedepartmentofModernMusic.NowlivinginMelbourne,herunsaprivatemusicschoolinNewportteachingpiano,especiallyjazzandLatinoamericanmusic,whilecompletingaMastersofMusicinjazzandimprovisationattheUniversityofMelbourne.!HeisauthorofBolivianBookMusicImprovisation(BBMI)supportedbytheSwissEmbassyinBoliviaandtheLaPazCityCouncil.ThebookisahistoricalcompendiumcontainingacompilationoftranscribedscoresofBolivianmusicforjazzandimprovisation.!Danilohas

34

decadesofnationalandinternationalperformanceexperienceandiscurrentlyinMelbourneperforming,composingandarrangingforhistrioand‘EnsambleLatinoamericano.DanSheehan(BA/BMusHons)isaMelbourne-basedimprovisingpianistandcomposer.HecompletedanHonoursdegreeatMonashUniversityin2012withaninvestigationintothecompositionalapproachofsaxophonistTimBerne,andiscurrentlyundertakingapractice-basedMastersinimprovisedsoloperformance.HehasstudiedwithDrTonyGould,DrTimStevens,MarcHannaford,andhasparticipatedinworkshopsattheBanffCentre(Canada)andtheSchoolforImprovisationalMusic(NewYork).DanleadsimprovisingcollectiveInfiniteApe,whichhasreleasedthreeindependentalbums;hisdebutInfiniteApe(2013)earnedashortlistedBellAwardnomination.HeperformsregularlyaroundMelbourneinvariousimprovisationalsettingswithcollaboratorTonyHicks.AdamSimmonsisamulti-instrumentalist,composerandeducatorwithafocusonimprovisation.AdamteachesJapaneseshakuhachiattheUniversityofMelbourneinadditiontoteachingwoodwindtechniquesandimprovisationatVictorianCollegeoftheArtsandMelbournePolytechnic.Hehasperformedatfestivalshereandabroadwithnumerousartistsandensembles,includinghisownprojectssuchasOrigamiandtheAdamSimmonsCreativeMusicEnsemble.HehasbeeninvolvedasacreatorandcuratorofeventssuchastheFestivalofSlowMusic,LaMamaMusica,PortraitsConcertSeriesand100:25:1,whichprovidedtheperformanceaspectofthisresearchwithJohnFitzgerald.GregStottisaPhDcandidateattheAustralianNationalUniversity(ANU).HehastaughtjazzandcontemporaryguitarfortwodecadesattheANU(inparticularthepre-tertiaryprograms)andtheCanberraInstituteofTechnology’s(CIT)MusicIndustryCentre.HeperformsregularlyaroundCanberraandinterstateandisthecuratoroftheFridaynightjazzseriesattheNationalPressClub.TwoofhisworksareincludedintheAustralianJazzRealBook(compiledbyTimNikolsky)andanumberofhisotherworksarefeaturedinfilmandonhis2008album‘OneSecondAhead’.Hisnewalbumisdueforreleasemid2017featuringsomeoftheworksassociatedwithhisPhDresearch.AndySugg(PhD)isasaxophonistwhoperformsregularlythroughoutAustraliaandinternationally.Hefeaturesonnumerousrecordingsandleadsanensemblethatspecialisesinafusionofjazzandpopularstyles.Suggisalsoamusicologist,attachedtotheUniversityofMelbourneandtheSirZelmanCowenSchoolofMusic,MonashUniversity.HehaslecturedattheManhattanSchoolofMusic,theWorldSaxophoneCongressandelsewhere.SugghaswrittenforTheTimesLiterarySupplement,theInternationalSocietyforJazzResearch(Graz),andMusicForum,thejournaloftheMusicCouncilofAustralia.HisbookTheInfluenceofJohnColtraneonImprovisingSaxophonists,hasbeenpraisedbyleadingUSjazzscholar,ProfDavidDemsey,describingitas“ananalyticalmasterpiece.”SuggwasaconsultantforChasingTrane:TheJohnColtraneDocumentary,thefirstfeaturelengthfilmofitskind,directedbyJohnScheinfeldand“CrewNeckProductions”(LosAngeles).PaulWilliamson(PhD)Australianjazztrumpeter,composerandeducator,DrPaulWilliamson,hasestablishedareputationforproducingdistinctiverecordingsofoutstandingensembleperformances.WilliamsonisalsoafacultymemberattheSirZelmanCowenSchoolofMusicatMonashUniversity.InadditiontohistencommerciallyreleasedCDreleases,WilliamsonhasperformedwithinternationaljazzartistsatfestivalsandvenuesintheUnitedStates,Europe,

35

Asia,andAustralia.HewasactiveintheEuropeanjazzscenewhilstbasedinDublinandperformedwithBillCarothers,DaveLiebman,ReggieWashington,PaulWertico,RonanGuilfoyleandMétierbeforereturningtoMelbournein2009.HisrecentperformancesincludecollaborationswithEddiePalmieri,TomaszStańko,CharlieHaden,KennyWerner,JohnAbercrombie,theAustralianArtOrchestra,HermetoPascoal,AaronGoldberg,DjangoBates,MikeNock,NasheetWaitsandMarkHelias.In2014WilliamsonwasinvitedbyDaveDouglastoperformattheFestivalforNewTrumpetMusicinNewYorkCitywherehepremieredaprogramofnewcompositions.TimWillisisajazzguitaristandcomposerwhohasperformedonnationalandinternationalstagesandiscurrentlyintheprocessoffinalisinghisPhDstudiedatMonashUniversity.Timstudiedmusicperformance/jazzguitarattheAustralianNationalUniversityunderthetutelageofMikePriceandGeorgeGolla.HehasalsostudiedprivatelywithJeremySawkins,StephenMagnussonandMisjaFitzgeraldMichelle.HighlightsfromTim’sperformingCareerincludeperformancesattheVannesInternationalJazzFestivalin2012,MelbourneInternationalJazzFestivalin2013aswellasmultipleperformancesatJazzclubssuchasDucDesLombards(Paris)andMelbourne’sownBennettsLane,theParisCatandtheUptownJazzCafé.Timhasbeenrecipientofawardsincludingthe2012PBS106.9YoungElderofJazzCommission,theAustralianPostgraduateAwardandthe2014YamahaPostgraduateResearchScholarshipinPerformance(Jazz).DaveWilsonholdsapositionasLecturerinMusicattheNewZealandSchoolofMusicatVictoriaUniversityofWellington.HisworkfocusesonjazzandpopularmusicinSoutheasternEuropeandexploreshowmusicandsoundrelatetonationalism,belonging,intangibleculturalheritage,theconstructionofsocialspace,andthenatureofscenes.HisresearchhasbeensupportedbytheACLS(AmericanCouncilofLearnedSocieties),theAmericanCouncilsofInternationalEducation,andtheHerbAlpertFoundation,andhisworkhasbeenpublishedintheYearbookforTraditionalMusicandinEthnomusicologyReview.HereceivedhisPhDinethnomusicologyfromUCLA,andisactiveasacomposerandperformerinjazz,popularmusic,andclassicalmusic.JonathanZionisabassist/composerandPhDcandidateatMonashUniversity.GraduatingfromVCAin1992,JonathanhasbeenperforminginAustraliaandoverseaswithmanyartistsincludingIanMoss,PeteMurray,Lior,DeborahConaway.In2016,hetouredwithPaulGrabowskyandRobertBourketoJapanperformingatTokyoJazzFestival,performedatWangarattaJazzFestivalwiththeLukeHowardTrioandtheAntonDeleccaQuartetandisappearingattheMelbourneInternationalJazzFestivalwiththeLukeHowardTrio.Jonathanco-foundedtheLukeHowardTrioin2008.TheensemblehasproducedthreealbumsandbecomeafeatureoftheMelbourneJazzscene.Usingapracticeresearchmethodology,Jonathan’slongitudinalstudyintotheevolutionofmusicallanguageinajazztrioproposesthatongoingperformanceinteractioniscentraltostimulatingnewmusicalgrowthandengagement.