happy new year

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

Moderators: bobappleton, sandywilliams

Forum rules
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

happy new year

Postby Ben Schwendener » Tue Feb 01, 2011 9:24 pm

been a while since I visited. looks like a lot of ideas kickin around!
I'm happy to report that the LCC is alive and kickin. Students in my classes at NEC, Longy and many privates from around the world are writing new music using the open - ended understanding of 'gravity manifested through sound' that George's concept is solidly rooted in. I still find that even after 25+ years of teaching this theory that its basic principles of VTG, HTG and SVTG (the levels of TG and the way they behave) allied with the LC Scale and its resources, always accommodate and illuminate an objective analysis of any music (using equal temperament) and at the same time serve to inspire individual expression. Amazing works these students are creating. Really wonderful.
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Postby bobappleton » Wed Feb 02, 2011 3:16 pm

Hey Ben,

Interesting idea. Do you think any of your students would like to take part here. It could really rock the forum! Students have so much energy...
and it would be fun.

b
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Postby Ben Schwendener » Thu Feb 03, 2011 9:07 am

Yes, good idea. I'll mention to them that they could do so.
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so Ben...

Postby MokshaIs » Fri Feb 18, 2011 3:31 am

When is volume 2 coming out?
"space is the place"
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Postby bobappleton » Fri Feb 18, 2011 10:58 pm

bobappleton
 
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Postby bobappleton » Sun Feb 20, 2011 8:16 am

A comment on the notion (stated perfectly here by Ben) that the LCC has to do with equal temperament:

In my work the idea of the LCC goes beyond equal temperament (and yes this is a poetic reading of GR).

Famoudou Don Moye recently expressed it on facebook like this "none of the music is "free", but I'd rather say "highly evolved musical communication" between individuals and their instruments reflected & expressed in multiple contexts transcending known idioms/genres" He was referring to Ornette Coleman and his own music with the Art Ensemble. http://www.facebook.com/event.php?eid=1 ... 5&comments

This is not to disagree with Ben or any of the equal temperament players here on the Forum. It's simply to point out that the George Russell by supporting Ornette and the others (as he did) was saying that any "system" of improvised music must allow every system of improvised music to exist within it.

An important point I think, especially when we get caught up in such unanswerable questions as "when will book 2 be published?" Book 2, Book 3 and all the books of music are being published every time a true musician or artist takes up their instrument and plays.

b
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