Advanced

Hur går det till egentligen?- tre skånska jazzkompositörer om sin kompositionsprocess

Erstrand, Martin LU (2019) LAMP72 20191
Malmö Academy of Music
Abstract (Swedish)
Syftet med studien är att undersöka hur kompositionsprocessen kan se ut för tre skånska kompositörer av instrumental jazzmusik. Studien utfördes genom individuella intervjuer. Samtliga informanter har skrivit längre svitliknande musik för stora ensembler. Hur relaterar deras musik och process till deras personliga bakgrund som kompositörer? Hur ser arbetsföljden ut när det gäller de olika momenten, det vill säga var börjar processen, var slutar den och vad händer däremellan? Hur resonerar informanterna kring styckets titel, olika typer av utommusikalisk inspiration och hur resonerar de kring att notera och kommunicera sin musik?
Resultatet visar att processen skiljer sig åt mellan informanterna, men att det finns ett antal intressanta... (More)
Syftet med studien är att undersöka hur kompositionsprocessen kan se ut för tre skånska kompositörer av instrumental jazzmusik. Studien utfördes genom individuella intervjuer. Samtliga informanter har skrivit längre svitliknande musik för stora ensembler. Hur relaterar deras musik och process till deras personliga bakgrund som kompositörer? Hur ser arbetsföljden ut när det gäller de olika momenten, det vill säga var börjar processen, var slutar den och vad händer däremellan? Hur resonerar informanterna kring styckets titel, olika typer av utommusikalisk inspiration och hur resonerar de kring att notera och kommunicera sin musik?
Resultatet visar att processen skiljer sig åt mellan informanterna, men att det finns ett antal intressanta skärningspunkter. Informanterna berättar om komposition som ett hantverk där ramar och begränsningar är en viktig metod för att komma åt processen. Det blir tydligt hur ett kompositionsprojekt ofta även innefattar en form av lärandeprocess, som blir extra tydlig när det ska komponeras för en ny typ av ensemble. Informanterna resonerar på olika sätt kring hur de inspireras till att skriva musik av till exempel ord eller känslostämningar, det varierar och ibland gör de inte alls dylika kopplingar. Ibland är musikens titel viktig för dess presentation, ibland mindre viktig. När musiken ska noteras hävdar informanterna att det är viktigt att vara tydlig när noterna ska tolkas av en stor ensemble och bilda en enhetlig klang, men de menar också att det är av stor betydelse att även i noteringen ha en strategi för hur man lämnar plats för improvisation.
Studien har varit mycket givande för författaren själv som musiker, kompositör och blivande musikpedagog och jag har inneburit ett inspirerat lärande om hur tre professionella kompositörer arbetar. (Less)
Abstract
The purpose of this study is to investigate how three professional jazz composers describe their process when composing instrumental jazz music. The study was carried out through interviews with three composers based in the south of Sweden, who had all composed extended suite-like pieces for large ensembles. How does their music and process relate to their personal background as composers? What is the sequence of different moments in their work, i.e. how does the process begin, how does it end, and what happens in between? How do the composers reflect on the titles of their works, on different types of inspiration from outside the field of music, and on notating/communicating their music?
The results show that the process differs between... (More)
The purpose of this study is to investigate how three professional jazz composers describe their process when composing instrumental jazz music. The study was carried out through interviews with three composers based in the south of Sweden, who had all composed extended suite-like pieces for large ensembles. How does their music and process relate to their personal background as composers? What is the sequence of different moments in their work, i.e. how does the process begin, how does it end, and what happens in between? How do the composers reflect on the titles of their works, on different types of inspiration from outside the field of music, and on notating/communicating their music?
The results show that the process differs between the informants, but that there is a number of interesting intersections. The informants share their view on composition as a craft where frames and delimitations are important methods to further the process. The three informants express the view that a compositional project usually includes some form of learning process, something which becomes even more emphasized when composing for a new kind of ensemble. The informants reflect on whether they get inspired by for example words or emotional states to write their music, but it varies and sometimes they do not make such connections at all. The relation to naming their composed music also differs between the informants. When the music is to be notated, it is important for the written music to be graphically distinct when a large ensemble is to interpret it and make a homogenous sound. On the other hand, it is important to have a clear strategy when notating the music to support improvising on it.
Since knowledge about the creative processes of jazz composers is sparse, this limited study contributes – in a modest extent – to new academic knowledge in this particular musical field. On a personal level, performing the study has been very rewarding for the author as a musician, composer and future music teacher. (Less)
Please use this url to cite or link to this publication:
author
Erstrand, Martin LU
supervisor
organization
alternative title
But how does it work? – Three Swedish jazz composers on their compositional process.
course
LAMP72 20191
year
type
H3 - Professional qualifications (4 Years - )
subject
keywords
Utbildningsvetenskap, Musikpedagogik, Komposition, Process, Jazz, Improvisation, Storband, Educational Science, Music Education, Composition, Big Band
language
Swedish
id
8983600
date added to LUP
2019-06-18 16:47:05
date last changed
2019-06-18 16:47:05
@misc{8983600,
  abstract     = {The purpose of this study is to investigate how three professional jazz composers describe their process when composing instrumental jazz music. The study was carried out through interviews with three composers based in the south of Sweden, who had all composed extended suite-like pieces for large ensembles. How does their music and process relate to their personal background as composers? What is the sequence of different moments in their work, i.e. how does the process begin, how does it end, and what happens in between? How do the composers reflect on the titles of their works, on different types of inspiration from outside the field of music, and on notating/communicating their music?
The results show that the process differs between the informants, but that there is a number of interesting intersections. The informants share their view on composition as a craft where frames and delimitations are important methods to further the process. The three informants express the view that a compositional project usually includes some form of learning process, something which becomes even more emphasized when composing for a new kind of ensemble. The informants reflect on whether they get inspired by for example words or emotional states to write their music, but it varies and sometimes they do not make such connections at all. The relation to naming their composed music also differs between the informants. When the music is to be notated, it is important for the written music to be graphically distinct when a large ensemble is to interpret it and make a homogenous sound. On the other hand, it is important to have a clear strategy when notating the music to support improvising on it.
Since knowledge about the creative processes of jazz composers is sparse, this limited study contributes – in a modest extent – to new academic knowledge in this particular musical field. On a personal level, performing the study has been very rewarding for the author as a musician, composer and future music teacher.},
  author       = {Erstrand, Martin},
  keyword      = {Utbildningsvetenskap,Musikpedagogik,Komposition,Process,Jazz,Improvisation,Storband,Educational Science,Music Education,Composition,Big Band},
  language     = {swe},
  note         = {Student Paper},
  title        = {Hur går det till egentligen?- tre skånska jazzkompositörer om sin kompositionsprocess},
  year         = {2019},
}