High School Project.

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.

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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

High School Project.

Postby Andrew » Thu Sep 21, 2006 12:49 pm

Hello, I'm a Senior in HighSchool, and at my school I have to do a senior project that requires lots of time and effort. For it, I need to make a paper on a subject that really interests me. So I decided to do it on The Concept, which I got about six months ago, and have slowly been digesting it. I am wondering which view I should take my paper, like for example, if I should talk mostly about the mechanics of the concept, or if I should talk about the people influenced by the concept, (or any other views). Suggestions?
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Project

Postby jimvictor » Wed Sep 27, 2006 2:25 pm

Well that is an ambitious project!

Introducing the Concept is a complex undertaking.

If you are dealing with mostly non-musicians, you need to keep it simple and understandable. Delving too deeply into theoretical harmony is probably going to daze them....

I see LCCOTO (an Jazz) as the ultimate study in relativity.

everthing is relative to everthing else if you understand the relationship.

The idea of using the 12 tones of music in an orderly fasion to allow 'tonal sounds to 'not so' tonal sounds-that is -close to distant relationships.

I suppose I would spend more time conveying the 'Idea' of how the 12 tones can relate to each other in different ways but use an additional -seperate medium that they can understand to get the message across.

You can even use family relationships for example -close-distant.

Or looking at things from a different angle which could give a differerent meaning to something.
There are a whole host of things you could use to get the idea across.

You can take a sentence and start re-arranging the words so it slowly transforms into something else with a different meaning... but yet you can always maintain control because you understand the structure and relationships.

You get the idea.

If you are working with non-musicians, don't try to dazzle them with theory but explain how the Concept helps to bring organization to what could be percieved as chaos!

Hope this helps!

Jim B
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Project

Postby sandywilliams » Wed Sep 27, 2006 5:19 pm

You might explore the idea of why an alternative theory of music could be valuable. In looking at world music for example, in seems odd to try to analyze music that wasn’t conceived with the same formalities as Western music and try to interpret it through the lens of traditional Western music theory.
Wish I could have gone to your high school!
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Postby HowardJ » Wed Sep 27, 2006 5:49 pm

Hi Andrew,

You can write an exciting paper on Melody.

Some basic areas you could write about are;

1) What is melody?

2) How to construct a melody.

3) Discuss different types of melodies people hear in their music.

4)The importance or lack of importance of melody in music.

The list can go on and on.

Enjoy,

Musically,

Howard :D
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LCCOTO

Postby jimvictor » Thu Sep 28, 2006 1:41 pm

Hi,

I think if the topic is the LC then you ought to keep it in that realm.

you can explain how you might create a melody using LC but that still gets back to the theory /relativity of it.

The advancement of maj/min/dim/aug 7th chords through LC is another approach/ how it expands the use of these chords thru displacement.

A short history of LC is good. How it differs from the standard approach of chords.

Vertical/horizontal.

Just the main areas that express LC the best.

Jim
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Postby Andrew » Thu Sep 28, 2006 9:40 pm

Great ideas Jim! It's going to be about ten pages, so I'm going to do 2-3 pages on what you were talking about, the history of the concept and how it differs from different theory,. Then I'm going to talk about the different Cds that were influenced one way or another by the Concept (Kind of Blue, Giant Steps, Sketches of Spain, The Shape of Jazz to Come, Sunday at the Village Vanguard, A Love Supreme, Bitches Brew.)
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