Generative Themes

Generative Themes i — iv previously released as an LP. Generative Theme v is a section from an improvisation made at the Zagreb Biennale on 24th April 1983.

At the time of the studio recording of Generative Themes (a rare occurrence for AMM) - December 1982, John Tilbury had been a regular member of AMM for a couple of years. He had at times during the 1960s ‘deputized’ (if that is the right word) for Cornelius Cardew. So his work and friendship was already familiar to Keith Rowe and Eddie Prévost when they invited him to join them. Since then, of course, John has proven to be an immensely valuable member of the ensemble. His consistent creativity being both a great joy and a reliable support in AMM’s musical collaborations.

As the CD format has a greater capacity it was decided to include a section from an improvisation made at a concert at the Zagreb Biennale on 24th April 1983. This makes a good ‘live’ contrast to the studio recording that made the original Generative Themes just a few months before.

The following is the text published with the original LP: For all the lip service paid to the idea of the liberation of the performer, in contemporary art music creativity has become even more the prerogative of the individual and of the individual composer in particular. The goal of the composer, able to exercise control over all the parameters of every sound in the composition, has become the perfection of the ideal object, to which the composer enjoys a property relation. Instead of a relation between men, art becomes a relation to a thing and as a consequence some of music’s most characteristic and essential qualities are conspicuously missing from much contemporary composition. It has only been by dint of the improvisational ethic that qualities such as spontaneity, dialogue and transience have been rescued and restored. For AMM there is no ideal object to be projected, no ultimate condition, there are only possibilities to be perceived, transcended, made real. Within the possible, themes are suggested - what Paulo Freire described as ‘generative themes’. These generative themes are a consequence of a dynamic medium like improvisation.

An improvising musician constantly contrasts the investigative perspective with the reformulation of successful modes: it is never a matter simply of the manipulation of connotative symbols, of channeled, vulgar spontaneity. The investigative perspective suggests “searching for sounds and for responses that attach to them, rather than thinking them up, preparing and producing them. The search is conducted in the medium of sound and the musician himself is at the heart of the experiment.” (Cornelius Cardew Treatise Handbook, Peters Edition 1967). The productive integration of the dialogical and the individual statement is the improviser’s modus vivendi. The dialogical may be interrupted or overruled by the seemingly arbitrary individual statement which in turn may become the basis for a new dialogue. But each and every contribution is made by virtue of a collective ambiance: moreover, collective music making depends upon the constant interaction of aesthetic, moral and social considerations and herein lies the humanizing impulse of the improvisational ethic. AMM’s musical method is unconventional: described as ‘laminal’ it unites and superimposes layers, textures - creating syntheses which generate new musical themes. If the music is ‘difficult’ its (humanist) content, which on this record embraces both wit and humour, can render it accessible to the curious and sympathetic listener.

AMM began their musical quest in 1965 when Keith Rowe, Lou Gare, Lawrence Sheaff, Eddie Prévost and soon after the late Cornelius Cardew came together. Inevitably there have been changes although John Tilbury, the most recent permanent member has had long connections with AMM and was one of Cardew's longest and closest musical associates. More importantly the impetus which generated the innovative break with conventional modes of music making still remains and there is a strong sense of continuity. AMM plays to its strengths and remains AMM.