Bi-curious Truth Or Dare

Musical practice and creativity

Meki Nzewi: "Musical pactice and creativity", Bayreuth, 1991, Chapter 3, p. 73-100

Meki Nzewi is a professor at the University of Pretoria. He is himself a composer and percussionist in the Igbo society is brought up, which will be discussed here. He has 20 years of experience as an ethnomusicologist. Igbo is Nigeria's second largest ethnic group.

The third part of the book contains the following chapters: Chapter 3


organization of a Dance Music Group
Organization of Music Presentation
The structure of the Igbo Presentation
The structure of the Igbo Festival
Features of the Preparation
feature of the Core Events
Implication of the ideational Perspectives
Popular Igbo festivals
Music Education
Participation of Women
social musical Evaluation of Music and Music-Making


Music: Important aspects (selection)

It is interesting to see how the music concept is tied to a culture:

- The Igbo terminology "Nkwa" for music, ie instrumental music and dance.

- The Music (Group) is a collective good and belongs to the village.

- The annual music festival includes temporal, religious, physical, artistic and political arrangements.

- Music is an artistic and aesthetic rationalization that is prescribed by the Company.

- When music is playing, "wake up" society.

- Music is not lived in isolation, but is always shared with others. This means that music enjoins joy and camaraderie. We socialized as a group.

- Musical Education: There is no systematic and educational musical education. Each child is free to decide whether it wants to make music. It learns by forming bands with other kids and the adults imitated and imitating their instruments.

- women in music independently organized groups. Men are invited to take only specific roles in the group. Who is not the music group, lives in social isolation.

- There is a very small physical or psychological difference between playing music and the audience. If the listener in any way a hindrance to performance, he is asked to leave.

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Art Tatum

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Art Tatum was on 13 October 1909 in Toledo, Ohio, was born. He was born with one eye completely, on the other are almost blind. Therefore, he attended the School for the Blind in Columbus, Ohio. He studied piano with Overton G. Rainy and studied with the aid of glasses and Braille to read music. He also played violin, guitar and accordion and was very early on a talented musician. His musical influences were Fats Waller, and radio pianist Lee Sims. In 1943 he founded along the lines of Nat "King" Cole his own trio with bassist Siam Stewart and guitarist Tiny Grimes. In 1947 he took part in the movie "The Fabulous Dorsey.
Art Tatum played in various well known clubs such as: New York: Three Deuces (1944, 1945), The Downbeat Club (1945, 1946, 1947), Famous Door (1947), Café Society (1949-50), Ember (1951), Los Angeles: Billy Berg (1946), Surf (1950 ). From 1953

began working with the music producer Norman Granz. From this together with you were important recordings with Benny Carter (as), Roy Eldridge (tp), Lionel Hampton (vb), Ben Webster (ts) and Jo Jones (drums). Also emerged in the course of his career over 120 recordings as a soloist. Tatum toured to several weeks before his death. On 5 November 1956 he died of kidney failure.


musical style

"The New Grove Dictionary of Jazz," describes the Art by Art Tatum, as follows:

- elaboration of the original harmonies of a tune
- use of complex harmonies and voicings passing
- contrapunctual relationships among lines in different registers
- superb technical skills, rhythmic solidity and security
- embrace of the full range of the keyboard
- application of different variation techniques simultaneously
- rhythmic and harmonic intensification of a tune
- extension and variation of the melody
- use of stride and swing traditions
keyboard - control of nuance in the finest details

Tatum played mostly standards from the classic jazz repertoire. Also, blues and classical pieces belonged to it. Apparently he had two musical faces: in public he was a professional businessman, played exactly his recordings, the recording studio, he usually played only a "take". Private played and sang blues for the friends could improvise for hours, starting from any chord progression. Legend was his ability to work without sleep for several days and nights in a row.

Literature:
Art Tatum, in: Encyclopedia of Jazz, ed. Martin Kunzler, Volume II, Sp 1323-1325, Hamburg 2002
Art Tatum, in The New Grove Dictionary of Jazz, ed. Barry nuclear field, 2 Edition, vol. III, p. 715-718