Bøker av Clement Jewitt

Following Book 1, which is a largely personal account of the authors experiences as musician and composer, this, Book 2, taking a more objective stance, contains essays, articles, on musical activity in the wider world. Several were previously published, in periodicals, and as a contribution to a book. Hence these idiosyncratic musings jump about somewhat, con-joining various aspects of 'life, the universe and everything' with notions on the being of music, internally and externally.Some chapters are more pointedly focussed, with specific goals, which certainly applies to some historical essays. And there I make use of a Jungian model of flows in the psyche, which I found highly appropriate to track musical movements, paralleling composers' mind flows. There are thoughts on possible futures for the arts, sonic healing, a readable exposition of the Jungian model, using that in a view of Western music history, archaeology of sounds, a deep view of Indian song, an examination of the interrelations of the characters in 'The Magic Flute' and a history of music at The Bauhaus. A heterodox collection, to be sure, but something there for a wide appreciation of matters musical.

Following Book 1, which is a largely personal account of the authors experiences as musician and composer, this, Book 2, now reissued with corrections, takes a more objective stance, contains essays, articles, on musical activity in the wider world. Several were previously published, in periodicals, and as a contribution to a book. Hence these idiosyncratic musings jump about somewhat, con-joining various aspects of 'life, the universe and everything' with notions on the being of music, internally and externally.Some chapters are more pointedly focussed, with specific goals, which certainly applies to some historical essays. And there I make use of a Jungian model of flows in the psyche, which I found highly appropriate to track musical movements, paralleling composers' mind flows. There are thoughts on possible futures for the arts, sonic healing, a readable exposition of the Jungian model, using that in a view of Western music history, archaeology of sounds, a deep view of Indian song, an examination of the interrelations of the characters in 'The Magic Flute' and a history of music at The Bauhaus. A heterodox collection, to be sure, but something there for a wide appreciation of matters musical.

This small book declares that life without music is inconceivable to the vast majority of humankind. It is about the author's learnings, and leanings to and from, his life as a composer, instrumentalist and improviser, with some account of other proclivities, attitudes and artistic work. A short biography provides context to a life spent creatively, eventually in mid-life focussed on musical composition.The authors somewhat idiosyncratic attitude to the composing act, is contrasted with other attitudes discernible in our currently collapsing world. Composing as a creative act is analyzed contextually, but not overly technically, as to overall proportionalities affecting the listeners experience, and balances within the work which the composer must consider, such as between dissonance and consonance.And then there is improvisation, instant composition! And the authors love of trees, which seem to approve of his playing with them. Group improvisation is discussed parallel to an endeavor to create leaderless functional working groups.A couple of prominent modern composers are discussed relevant to the author's musical attitudes: Pierre Boulez (no) and Jonathan Harvey (yes). These are followed by a short note on spirit in music, which leads to the last and largest chapter, a paean on the power of sound in music making, mythmaking, and synesthesia.Appendices include a report on the author's 70th birthday concert; a correspondence with two other composers on life and art music; encomiums and reviews; score samples; and references to recordings which are held on a website opened for the purpose.