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!!! 1967 - The Tiger's Mind {br}{br} {html} <TABLE BORDER="0"> <TR> <TD VALIGN="top"> <IMG SRC="https://jeromejoy.org/files/articles/cardew/cardew51a_b.jpg"><br><br><br><IMG SRC="https://jeromejoy.org/files/articles/cardew/cardew51f.jpg"><br><small>(Michael Nyman, in "Experimental Music: Cage and Beyond (Music in the Twentieth Century)", 1974) </TD> <TD WIDTH="700" VALIGN="top"> <DIV style="margin-left:20px;border-left:2px dotted black;padding-left:10px;"> Good improvisation is never really free : experienced players will collect a repertoire of sounds and responses to anticipated contributions by others. The amount of freedom allowed varies with the style of improvisation. Trad-jazz improvisation is limited to such an extent in terms of harmony and the role of each player that it acts as an unwritten score (also called a ‘head chart’). Other improvisation, no matter how free, has limitations of stylistics built up by taste. Freedom can be overwhelming, especially to an inexperienced player who has not developed a repertoire of improvisational gambits common to experienced players (In this sense, members of AMM and other experienced improvisers considered them to be compositions) <i>(see also intuitive music by Hugh Davies and Gentle Fire, after Stockhausen)</i>. This does not mean that interpretation of indeterminate elements in a written score should be confused with free improvisation (that is, the scoreless music played in Britain and the US in jazz and art music since the 1960s). [...] The experience of interpreting indeterminate music and of creating free improvisation is, for those who have worked seriously in both, a very different experience. In the first, one is working with and for - or against - the score; in the latter, one is working with and for - and against - one self and each other. The experience of improvisation for the experienced indeterminate performer is like the first performance of a high-wire act without a net : for once, there is no authority to which one can appeal or, in cases in which things go wrong, whom one can blame.<br> Cardew first attempted to impose a limitation onto improvisation in his AMM piece <i>The Tiger’s Mind</i>. This piece consists of two texts : a Daypiece and a Nightpiece. […] Aside from <A HREF="index.php?page=DOCCARDEW" target="_top">a reference to William Blake (’The Tyger’, which begins, ’Tyger, tyger, burning bright’)</A>, both pieces form a kind of mnemonic to indicate interaction between six improvisers or improvising groups : Amy, the tiger, the tree, wind, the circle, and the mind. Each role has assigned to it a kind of improvising personally of strengths and weakness in regard to the other roles, in a manner not dissimilar to the strengths and weaknesses to each role in the game of rock-paper-scissors.<br> A player who assumed the role of Amy would therefore react more readily to the player assuming the role of the tiger. He or she would engage with those situated in physical proximity and would avoid playing with the person assuming the role of the tree when the player assuming the role of the wind was prominent.<br> Cardew envisaged a learning period in which each of the six roles would be assigned to each of six musicians who would interact according to the plot of the two pieces. As players understood the interaction of the characters more clearly, they were allowed to assign their own roles in secret, so that a player who wished to play the circle, say, would assign roles to the others without their knowledge, making one wind, another the mind, and acting to their improvisations accordingly. Further adjustments to the story could be made as players became comfortable, and more than one player could assume a role (although not with knowledge more than one Amy). Mechanical and inanimate objects could be assigned roles in cases where fewer than six players were available. — <i>(see also : <A HREF="http://fr.wikipedia.org/wiki/Alice_et_Bob" target="_blank">characters in Applied Cryptography</A>)</i>.<br> In its use as a kind of training ground for improvisation and as a spur for improvisation, <i>The Tiger’s Mind</i> can be considered to be a trial run for the <i>Improvisation Rites</i> as defined in <i><A HREF="http://www.kim-cohen.com/Assets/CourseAssets/Texts/Cardew_Scratch%20Constitution.pdf" target="_blank">The Scratch Orchestra : a Draft Constitution</A> </i> (Cornelius Cardew, In The Musical Times, Vol. 110, No. 1516, 125th Anniversary Issue. (Jun., 1969), pp. 617 and 619) <i><A HREF="https://jeromejoy.org/w/index.php?page=DOCCARDEW4" target="_top">(see next page)</A></i>. It is also this limitation and educative feature of ‘’The Tiger’s Mind’’ which made it unpopular with the members of AMM when Cardew first wrote it.<br> —<small> (Virginia Anderson, <A HREF="https://www.academia.edu/9107936/Aspects_of_British_Experimental_Music_as_a_Separate_Art-Music_Culture" target="_blank">Aspects of British Experimental Music as a Separate Art-Music Culture</A>, Ph.D. thesis in Musicology, Royal Holloway College, University of London, January 2004)<br>— <i>(see also : <A HREF="index.php?page=DOCCARDEW" target="_top">more info about Cardew and William Blake</A>)</i>.</small> </DIV> </TD> </TR> </TABLE> {/html} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}{small}First published in The Musical Times Vol.108, No1492 (June 1967), pp527-530.{/small}{/cap}{br}[../files/articles/cardew/cardew51b.jpg\|../files/articles/cardew/cardew51b_b.jpg]\|t [../files/articles/cardew/cardew51c.jpg\|../files/articles/cardew/cardew51c_b.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/cardew/cardew51d.jpg\|../files/articles/cardew/cardew51d_b.jpg]\|t [../files/articles/cardew/cardew51e.jpg\|../files/articles/cardew/cardew51e_b.jpg]{br}{br}{cap}{small}^[[Download the score\|http://www.cacbretigny.com/inhalt/pictures/FENETRE_Cardew/5_TheTigersMind/The%20Tiger%27s%20MindUK_Original.pdf]^]{/small}{/cap}\| {br}{br}{br}{br} ----
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