Notes from Edwin Prevost's No Sound is Innocent: AMM and the Practice of Self-Invention (1995)

Notes from Edwin Prevost's No Sound is Innocent: AMM and the Practice of Self-Invention (1995)

short bluesky summary

⌘ A lifelong improvisor mounts a spirited defense of "new sonic relations": the creation of sounds and musics that are non-commercial, amateur/non-specialist, collective/dialogic, and "ugly"/anti-bourgeois

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Notes [oldest to newest]

1. The "meta-musician"

2. Meta-music and meaning

3. Dialogic sound

4. Two kinds of dexterity, for (meta-)musicians

5. Music that supplies no market

6. Cage and improvisation

8. The color and texture of sound

9. Corneilus Cardew's magical rituals

10. Taoism and improvisation

11. Working with intuitive response

12. The social nature of music

13. The collective nature of jazz

14. Improvisatory music and the expression of alienation

15. European Free Improvisation

16. Composition vs improvisation

17. Total improvisation vs professional training

18. Improvisation in community

19. "New sonic relations"

20. Improvisation, process, and transience

21. Leisure vs activity

22. Amateurs and experts, in improvisation

23. Silence in performance

24. "Sincerity of action"

25. Improvisation as a life's work

26. The "sense of occasion" in music

27. Technical specialization vs. culture

28. The decline of folk forms

29. Free improvisation vs. "hack-created" jazz

30. Baudelaire's "art for art's sake"

31. Improvisation, historically

32. Further Prevost reading

33. C. Small's "Improvisation: History, Directions, Practice"

34. "The nature of sound is transient"

35. Aesthetics and commodity exchange

36. "Playing it wrong"

> all notes from Edwin Prevost's No Sound is Innocent: AMM and the Practice of Self-Invention (1995)

> part of unfinished everything

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unfinished everything is an original work / ongoing project (1997-present) by jeremy p. bushnell

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authors' quoted words are their own.

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