A CALL FOR STUDENTS
This is an open invitation to creative, forward-looking musicians everywhere: The IAAA wishes to announce a new program of events that will give you unique opportunities to:
• Study and perform with our vanguard ‘NEW BLOOD’ Ensemble – working alongside some of the most talented musicians of today.
• Learn radical new approaches to creative performance, composition and improvisation, first-hand from the innovators themselves.
• Discover and develop your unique instrumental and compositional voice, through our progressive program of artistic development.
With these provisions respectively, and at every stage of our curriculum, we cover the collective, the theoretical, and the individual aspects of artistic development. We represent an alternative, revolutionary brand of creative musical training – for the thinking and practical musician alike. Our final aim is complete transformation of the students into the fully-fledged serious, powerful, future-conscious artists they need to become. Every course is applicable to instrumentalists and composers of every level and style.
• The Aural Suprematism Philosophy (Antonio Quijano) – the Secessionist Manifesto, the Artistic Awareness Numerical Line, the Limits of Non-Improvisation, the suprematist vision and music and the Dissonance Effectiveness Hypothesis.
• Abstract Tonality (Antonio Quijano) – The use of binary intervals as a means of unifying serialism, jazz harmony and free jazz improvisation. In depth discussions of the Individual Fields Approach and Vertical Structure Approach, the Harmony Extraction Principle, the Chord-Scale Relationship Resistance Principle and the Usage Directional Principle.
• Abstract Bitonality (Antonio Quijano) – The extended use of bitonality and its relationship with the general theory of Abstract Tonality and its theorems.
• Polysuspension (Antonio Quijano) – The extended use of suspended harmony and its relationship with the general theory of Abstract Tonality and its theorems.
• Constricted Harmonic Successions (Antonio Quijano) – The use and applications compressed harmony, its versatility and consequences in various musical situations from symphonic and jazz composition to improvisation in general.
• Dodecaphonic Harmonic Successions (Antonio Quijano) – Applying complex dodecaphonic chordal structures to practical musical situations. Discussions of chords introduced by Fritz Heinrich Klein and Nicholas Slonimsky.
• Hybrid Dodecaphonic Successions (Antonio Quijano) – The applications of standard jazz harmony into dodecaphonic composition.
• Appositive Chord Successions (Antonio Quijano) – The possibilities within a tonal form of serialism and its applications within jazz composition.
• Harmonic Geodesics (Antonio Quijano) – The general concept of Harmonic Geodesics as applied to the theory of Abstract Tonality, standard jazz improvisation and composition and four part writing.
• Modal Serialism (Antonio Quijano) – An introduction to the concept of serialism as applied to modal harmony and its consequences in practical musical situations..
• Pythagorean Proportions (Antonio Quijano) – The application of several mathematical ratios to the Oscillatory and Spatial Dimensions including the Golden Ratio. Discussions are applied to 12 TET, Bohlen Pierce, 19 TET and 24 TET temperaments.
• Vigetetraphony (Antonio Quijano) – The construction of a serialist system of harmony as applied to the 24 TET temperament.
• Vigetetrametrics (Antonio Quijano) – The construction of a dodecametric system based on 24 degrees.
• Dodecametrics (Antonio Quijano) – The serialization of the Spatial Dimension and its similarities with Arnold Schoenberg’s vision.
• Dilatory Music (Antonio Quijano) – The serialization of function and its subjection to timbre. How to compose and improvise utilizing this system.
• The 2:1 Technique (Antonio Quijano) – Discussions of a performance philosophy that applies the maximum possibilities the human anatomy offers to yield a maximum of results. The exclusion of virtuosity from the contemporary music agenda as a result of a derelict socio-musical condition. The priorities of academic and gremial requirements over virtuosity and its justification within quasi-intellectual trends.
• Post-Human Music (Antonio Quijano) – Composing music outside the realm of human perception and its possibilities as a conceptual art form. Includes in depth discussions of specialized forms of notation and analysis of actual compositions.
• The Neomonophonic Chant (Antonio Quijano) – Applying the concept of the Harmonic Geodesic to composition and improvisation. The role of the Neomonophonic Chant in the Grand Unified Theory of Oscillation, Time and Cognition.
• The Dissonance Effectiveness Hypothesis (Antonio Quijano) – A mechanism that dismantles some of the hurdles preventing prospective musical artists from creating a unique voice. The concept of dissonance as applied to tonal, spatial and cognitive strongholds and some of its applications in practical musical scenarios.
• The Grand Unified Theory of Oscillation, Time and Cognition (Antonio Quijano) – A philosophical device that leads the way to true musical innovation and its application to every aspect of being a musical artist.
• Hyper-Virtuosity (Edgar Abraham) – How to exceed the virtuoso level by utilizing a systemized routine that involves specialized practice techniques and meditation. The Hyper-Virtuosity concept includes performance and virtuoso hearing. Applicable to any instrument.
• Multi Virtuosity (Edgar Abraham) – How to become a virtuoso on many different instruments and facets of music by utilizing a systemized routine that involves specialized practice techniques and meditation.
• Virtuoso Perception (Edgar Abraham) – How to develop a virtuoso sense of hearing and how to apply the advantages of such perception to situations beyond a classroom.
• Introduction to the Harmonic Series and Experimental Intonation (Ron Sword) - A discussion on the harmonic series.
• Tonality in Equal Octave Temperaments (Ron Sword) - A discussion on xenharmony, equal tunings, moment of symmetry/MOS scales, and their qualities.
• Just Intonation and Pyschoacoustics (Ron Sword) - A series of classes and discussions on the perception of Just Intonation and it's acoustic properties in comparison to the Twelve system, 'Intervals and tunings', Consonance, Dissonance and Roughness, A Speculation on Ethnomusical Scales and Cultural Music, among other discussions on historical studies and papers.
• Equal Temperament Theory (Math and Informative)(Ron Sword) - A discussion on derivation of temperaments, notations, and historical intervals.
• Non-Octave Scales (Ron Sword) - A course on ways for building Just-Intonation derived temperaments Non-Octave scales. (non-2/1 Scales, The Equal Tempered Bohlen-Piece Scale, 88cET, Divisions of 4/1, 5/1, 6/1 etc. )
• The Enharmonic Genera (Ron Sword) - A discussion on a class of intervals making their way into contemporary new music, found throughout many cultures of the world.
• Quartertone Music (An Ethnomusical Perspective) (Ron Sword) - A discussion of western and non-western quarter-tone music and the dispute between their approximation to different Maqams, Ragas, Dastgahs, and other cultural scales.
• Tricesimoprimal Music / 31-tone System (Ron Sword) - A discussion on meantone music and the division of the Octave into 31 equal parts, it's historical pioneers and revivalists, it's approximation of greek enharmonic genera, and new MOS scales and temperaments for the future.
• 41-tone System (Ron Sword) - A discussion on mavila, magic, and near perfect just intonation based on the division of the Octave into 41 equal parts.
• 46-tone System (Ron Sword) - A discussion on the many temperaments provided by 46-tone, 13-limit, and more.
• Microtonal Guitar Technique/masterclasses (Ron Sword) - Sword's syllabus for Guitar students which covers about four years worth of study on technique & applications.