Synonyms for harmolodics or Related words with harmolodics

motivic              schenkerian              serialism              microtonality              eurhythmics              tintinnabuli              cantometrics              atonality              organology              marlovian              aleatoric              sonoristic              psychotechnique              dramatology              fichtean              hocket              bariolage              ehmm              dramaturgical              neodarwinian              postdevelopment              dattilam              guajeo              metatheoretical              reharmonization              polyrhythms              melomani              mchf              diatonicism              instructionism              andragogy              suggestopedia              tresillo              polytonality              vegetotherapy              fingerpicking              tarskian              agahu              hypermodernism              polytonal              speedword              associationist              multiphonic              improvisation              interpretivist              positivistic              hylomorphism              choreometrics              durkheimian              stemmatic             



Examples of "harmolodics"
Coleman had been preparing a book called "The Harmolodic Theory" since at least the 1970s, but this remains unpublished. The only other known explanation of harmolodics that was written by Coleman is an article called "Prime Time for Harmolodics" (1983).
Ronald Radano suggests that Coleman's concepts of harmonic unison and harmolodics were influenced by Pierre Boulez's theory of aleatory while Gunther Schuller suggested that harmolodics is based on the superimposition of the same or similar phrases, thus creating polytonality and heterophony.
Harmolodics seeks to free musical compositions from any tonal center, allowing harmonic progression independent of traditional European notions of tension and release (see: atonality). Harmolodics may loosely be defined as an expression of music in which harmony, movement of sound, and melody all share the same value. The general effect is that music achieves an immediately open expression, without being constrained by tonal limitations, rhythmic pre-determination, or harmonic rules.
Proponents include James Blood Ulmer and Jamaaladeen Tacuma. Ulmer, who played and toured with Coleman during the 1970s, has adopted harmolodics and applied the theories to his approach to jazz and blues guitar (for example, "Harmolodic Guitar with Strings").
Harmolodic Guitar with Strings is an album by American guitarist James Blood Ulmer recorded in 1993 and released on the Japanese DIW label. The album features Ulmer on guitar with the Indigo String Quartet performing compositions which expand on Ornette Coleman's theory of harmolodics.
"Trouser Press" described both "Black Rock" and the previous "Free Lancing" as "technical masterpieces, making up in precision what they lack in emotion (as compared to "Are You Glad to Be in America?"). Working to expand his audience, Ulmer concentrates more on electric guitar flash, and actual melodies can be discerned from the improvised song structures (improvisation being one of the keys to harmolodics)."
"Trouser Press" described both "Free Lancing" and the subsequent "Black Rock" as "technical masterpieces, making up in precision what they lack in emotion (as compared to "Are You Glad to Be in America?"). Working to expand his audience, Ulmer concentrates more on electric guitar flash, and actual melodies can be discerned from the improvised song structures (improvisation being one of the keys to harmolodics)."
Harmolodics is the musical philosophy and compositional/improvisational method of jazz saxophonist Ornette Coleman. It is therefore associated with avant-garde jazz and free jazz, although its implications extend beyond these limits. Coleman's work following this philosophy during the late 1970s and 1980s inspired a style of free-thinking jazz funk known as "harmolodic funk". Coleman also used the name "Harmolodic" for both his first website and his record label.
The Allmusic review by Scott Yanow awarded the album 1½ stars stating "Ulmer sticks to a harsh blues-rock groove, with many of the one-chord vamps sounding like they are leftovers from John Lee Hooker's repertoire. There are no harmolodics (and little jazz) to be heard on the CD, and this rather primitive music is to be recommended only to fans of Ulmer's shouting vocals.
The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the "harmolodics" of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described "On the Corner" with the formula "Stockhausen plus funk plus Ornette Coleman." Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz performance, and rhythm-based dance music to record the album.
By 1975 he joined saxophonist Ornette Coleman's electric free funk band, Prime Time. During his stint in Prime Time, Coleman taught Jackson composition and harmolodics. Jackson says that Coleman told him he was hearing music "in that piccolo range," and encouraged him to compose on the flute. Jackson went to Paris with Prime Time in 1976 to perform concerts and record "Dancing in Your Head" and "Body Meta".
Coleman defined harmolodics as "the use of the physical and the mental of one's own logic made into an expression of sound to bring about the musical sensation of unison executed by a single person or with a group." Applied to the particulars of music, this means that "harmony, melody, speed, rhythm, time and phrases all have equal position in the results that come from the placing and spacing of ideas." (see: aspects of music)
In addition to leading Decoding Society lineups, Jackson was involved in other projects. Guitarist and fellow Coleman alumnus James Blood Ulmer recruited Jackson for another group that intended to push harmolodics to a new level Their collaboration was documented on two 1980 releases, the Music Revelation Ensemble's "No Wave", and Ulmer's "Are You Glad to Be in America?" Jackson was also featured on Ulmer's 1987 "America – Do You Remember the Love?" and 1988's "Music Revelation Ensemble" release.
"Of Human Feelings" was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album "Dancing in Your Head". The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album "Body Meta", which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that."
By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.
"Of Human Feelings" features shorter and more distinct compositions than "Dancing in Your Head". "Sleep Talk", "Air Ship", and "Times Square" were originally performed by Coleman during his concerts in 1978 under the names "Dream Talking", "Meta", and "Writing in the Streets", respectively. "What Is the Name of That Song?" was titled as a sly reference to two of his older compositions, "Love Eyes" and "Forgotten Songs" (also known as "Holiday for Heroes"), whose themes were played concurrently and transfigured by Prime Time. The theme from "Forgotten Songs", originally from Coleman's 1972 album "Skies of America", was used as a refrain. "Jump Street" is a blues piece, "Air Ship" comprises a six-bar riff, and the atonal "Times Square" has futuristic dance themes. "Love Words" heavily uses polymodality, a central feature of harmolodics, and juxtaposes Coleman's extended solo against a dense, rhythmically complex backdrop. Nicholson observed West African rhythms and collective improvisation rooted in New Orleans jazz on "Love Words", and suggested that "Sleep Talk" was derived from the opening bassoon solo in Igor Stravinsky's 1913 orchestral work "The Rite of Spring".
"Of Human Feelings" received considerable acclaim from contemporary critics. In a review for "Esquire", Gary Giddins hailed it as another landmark album from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmuted conventional polyphony and would be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the "Detroit Metro Times" wrote that Coleman's synergetic approach displayed expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau found the music heartfelt and sophisticated in its exchange of rhythms and simple pieces of melody, writing in "The Village Voice", "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."
In a 1986 article for "The New York Times" on Coleman's work with Prime Time, Robert Palmer said "Of Human Feelings" was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from "The A.V. Club" recommended "Of Human Feelings" as the best album for new listeners of Coleman's harmolodics-based music, while "Chicago Tribune" rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, "New York" magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; "Of Human Feelings" exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.