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The Bay Area Improv Scene is a commonly used name〔A 1996 usage in ''the San Francisco Bay Guardian'': "a performance arena that serves as a home base for the Bay Area's experimental music scene": http://www.absoluterealtime.com/resume/SFBayGuardian061996.html〕〔A 2007 usage, in ''SF Gate'': "Tim Perkis' documentary 'Noisy People' looks at a small cross section of the Bay Area's improvised music scene": http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2007/04/19/derk.DTL&hw=derk+noisy+peop〕〔Two mid-90s usages: Derk Richardson, "The far side", "In 1995 'new jazz' may have gotten the headlines, but the Bay Area improv scene stole the show." ''The San Francisco Bay Guardian'', December 6, 1995, http://www.plonsey.com/beanbenders/SFBayGuardian120695.html; Derk Richardson, "Sites and sounds", "Musicians and venues are flourishing in the Bay Area's improv scene." ''The San Francisco Bay Guardian'' February 5, 1997, http://www.plonsey.com/beanbenders/SFBayGuardian020597.html〕 for a loose association of musicians and composers centered in the San Francisco Bay Area who create a style of music that evolved largely from avant-garde jazz and modern classical music, with influences from other areas such as Electronic art music, Free improvisation, and Musique concrète. Other names of this scene tend to use phrases such as "Creative Music"〔The full title of the Transbay Calendar is "The Transbay Creative Music Calendar" http://www.transbaycalendar.org〕〔Eric K. Arnold, "Easy Skronkin'" in ''the East Bay Express'', August 10, 2005:"The current creative-music scene, whose universe revolves around 21 Grand and the Transbay Music Calendar http://www.eastbayexpress.com/eastbay/easy-skronkin/Content?oid=1078688"〕 to try to incorporate a wider focus than just the improvisational approach. This scene is comparable to the New York Downtown Scene〔There is, in fact, a considerable amount of overlap between the Bay Area and the Downtown scenes, with frequent transitions between the two areas. Jeff Gauthier comments in "Musical Community", ''All About Jazz'', April 5, 2008: "While Cryptogramophone started out documenting a local community, we ended up representing a virtual community. Myra Melford and Mark Dresser used to be bastions of the New York Downtown scene before moving to the West Coast. Jenny Scheinman started out in the Bay Area before moving to New York. Erik Friedlander, Todd Sickafoose and Denman Maroney still live in New York. Scott Amendola and Ben Goldberg live in the Bay Area. Bennie Maupin came up in Detroit and New York but now lives in Los Angeles. Nels Cline still lives in LA but his career is truly international in scope."〕 (which is most often associated with John Zorn〔Nate Seltenrich, ''The East Bay Express'' April 15, 2009 "Surface Noise at the Uptown and the Ivy Room", "His idea was to create a monthly series modeled after John Zorn's New York City venue the Stone." http://www.eastbayexpress.com/eastbay/surface-noise-at-the-uptown-and-the-ivy-room/Content?oid=1369351〕〔Derk Richardson, Listen up", the ''Noise'' section of ''The San Francisco Bay Guardian'', June 4, 2003 (Vol. 37, Iss. 36): "Although based in New York, and sometimes Japan, saxophonist John Zorn became a towering role model for many Bay Area improvisers and composers through radically varied performances and such seminal projects as his 'game' piece Cobra." http://www.sfbg.com/noise/2003-06/shiurba_sb.html〕) and historically both scenes date back to the same time period in the early 1960s.〔Oliveros, P. (2008). "Memoir of a Community Enterprise". In D. W. Bernstein (Ed.), The San Francisco Tape Music Center: 1960s counterculture and the avant-garde, pp. 80-81. Berkeley: University of California Press.〕 A listing of some people who have been associated with the scene can provide a sense of the range of the music: List of Bay Area Improv Scene bands and artists ==Nature of the music== While most practitioners of this music are consciously avoiding the restrictions of any one particular genre, some generalizations can be made: This is a very instrumental music, showing its primary influences from the jazz and modern classical worlds: the most common instruments are horns, woodwinds, and strings. Guitars and percussion are also often used, though not usually in the rock n' roll style, and the use of electronics is very common. Vocals are somewhat rare, and recognizable lyrics are still rarer. Many of the practitioners are formally trained musicians, capable of playing conventional music with relative ease. If they choose to play rougher, noisier sounds, it is almost always a matter of choice, not necessity. Central to the scene's conception of itself is the freedom to break rules:〔Dave Barret (the saxophonist from the Splatter Trio) has remarked: "Experimental music .. has been about challenging the accepted norms. These norms may be for artistic imitators and academics, but most creative artists see them as straitjackets and obstacles in the path of forward motion. So the first thing you'll notice is that most of the traditional notions of melody, harmony, rhythm, and structure have been thrown out. (Or at least deconstructed, so that their meaning and function change.)" -- Dave Barret, liner notes for ''(Y)earbook Volume 2'', (1992), Rastascan Records〕 it does not shun the conventional virtues such as melody and rhythm, but it also accepts the atonal and the arrhythmic. This is a relatively unpredictable music, it varies tremendously from moment to moment, and from performance to performance. It is not reliably loud or soft, energetic or contemplative. If it "gets into a groove" it does not often stay there. This is a music that often (though not always) has a very intellectual quality which can run contrary to the usual presumption that music is primarily about the expression of emotion.〔Matt Davignon comments: "Well, the people who dislike experimental music are right. The bulk of the work that gets heard by non-new-music-specialists could fall under the umbrella of overly-intellectual/dissonant/heartless sort of stuff. A lot of experimental and 'new' music -is- too intellectual for non-music-majors to understand. And lots and lots of stuff has no emotional value." on the ''Bay Area New Music Discussion Group'', October 12, 2007 http://music.mills.edu/pipermail/newmusic/2007-October/021545.html〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bay Area Improv Scene」の詳細全文を読む スポンサード リンク
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