Academic literature on the topic 'Improvisation collective'
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Journal articles on the topic "Improvisation collective"
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Reardon-Smith, Hannah, Louise Denson, and Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION." Tempo 74, no. 292 (March 6, 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani, and Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
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Hall, Matthew J. "Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)." Early Music 48, no. 2 (May 2020): 177–92. http://dx.doi.org/10.1093/em/caaa026.
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Abstract Unfigured basslines serve as the starting points for collective improvisation in several sections of Agostino Agazzari’s Eumelio (1606). Agazzari makes clear that musicians used such basslines for effective ensemble improvisations in his well-known treatise Del sonare sopra’l basso con tutti li stromenti (1607) and in other contemporaneous documents. Gloria Rose has identified isolated examples of written ‘tablatures of the bass’, or contrapuntal templates from which ensembles improvised. However, analysis of the harmonic and modal parameters of the vocal monody in Eumelio shows how constrained the possibilities for improvisation actually were, indicating that the training of musicians c.1600 prepared them to improvise collectively from a bassline, even without such written tablatures. Some aspects of historical musicianship could lead to successful and enjoyable collective improvisation today, suggesting ways to bridge the gap between the contrapuntal training of modern and past musicians.
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Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.
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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Hansen, Hans, Daved Barry, David M. Boje, and Mary Jo Hatch. "Truth or Consequences." Journal of Management Inquiry 16, no. 2 (June 2007): 112–26. http://dx.doi.org/10.1177/1056492607302652.
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What follows is a collectively improvised story that emerged as four authors set out to explore their experiences and thoughts concerning organizational stories. The story is a reflection of their collective, creative, improvisational sense making via the construction of a narrative. The authors were selected because of their experience in the fields of organizational storytelling, narrative theory, and improvisation. They began by asking themselves “What would happen if we engaged in improvisation to collectively create a story that makes sense of organizational research?” After several rounds of reviews, they added reader voices, along with their own insights gained from their experience in constructing “Truth or Consequences.”
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Roud, Ensieh. "Collective improvisation in emergency response." Safety Science 135 (March 2021): 105104. http://dx.doi.org/10.1016/j.ssci.2020.105104.
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Martin, Lyndon, Jo Towers, and Susan Pirie. "Collective Mathematical Understanding as Improvisation." Mathematical Thinking and Learning 8, no. 2 (April 2006): 149–83. http://dx.doi.org/10.1207/s15327833mtl0802_3.
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Vilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics." Filozofija i drustvo 28, no. 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.
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The paper analyzes the concept of collective improvisation and draws out its potentials for social and political theory. Translating the ideas of collective improvisation from their original context in the theatre into the field of political thought, I argue that they offer a new understanding of political action by reevaluating the concepts of dissensus (Ranci?re) and community (Nancy), as well as the ways in which politics as a system needs to produce collectively binding decisions (Luhmann). I conclude that the ideas inherent in the practice of collective improvisation, as it has been developed within the tradition of modern theatre improvisation, subvert our intuitive ways of thinking about politics and thereby offer an alternative model of being and acting together.
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Ng, Hoon Hong. "Collective Free Music Improvisation as a Sociocommunicative Endeavor: A Literature Review." Update: Applications of Research in Music Education 37, no. 2 (June 22, 2018): 15–23. http://dx.doi.org/10.1177/8755123318784109.
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This article is a review of literature that conceptualizes the practice of collective free music improvisation as a sociocommunicative endeavor, with its appended value and implications to musicians and music learners. Researchers have revealed that this conceptualization breaks down cultural and stylistic music boundaries to establish understanding and empathy among diverse and unique performers—through live music interactions and communication on an egalitarian and evolving platform that is negotiated by all participants. To enable collective free music improvisation pedagogically, researchers have highlighted the importance and ways of approaching it as a form of social interactionism, developing a personal music language to converse fluently and meaningfully, and establishing shared understanding among fellow improvisers as the foundation for music interaction. Together, these pedagogical implications may be synergized to inform ways in which classroom free improvisational practices may nurture expressive and confident improvisers rooted in the reality of the moment, as well as in the music conversations with one’s self and others.
Dissertations / Theses on the topic "Improvisation collective"
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Ahearn, Gavin. "Friendship and Anonymity in Collective Free Music Improvisation." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20923.
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Researchers interested in the musical practice of free improvisation have historically prioritised studies of improvisatory process at both the individual or group level. In the realm of jazz studies, discussions of group interactivity have long pointed to the role friendship plays in facilitating these processes (Berliner, 1994; Monson, 1997; Jackson, 2012) and recent qualitative studies of group decision making and interaction in jazz have demonstrated that the shared understanding embedded within relationships can help facilitate open environments ideal for free improvisation (Canonne and Aucouturier, 2015; Wilson and Macdonald, 2017). Yet parallel research into group creativity outside the jazz context has put forth an intriguing alternate idea – the notion that anonymity amongst group participants may also lead to openness during the collaborative process (Bryan-Kinns, Healey and Leach, 2007). This thesis unpacks the experiences of four Australian free music practitioners in terms of friendship and anonymity in an attempt to flesh out a spectrum of optimal conditions that might underpin successful free music exchanges. In doing so, it lays open potential areas of future research in terms of delineating how a range of different sorts of relationships might impact improvised group creativity.
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Houdart-Joud, Sylvie. "L’invention musicale collective et guidée." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL146.
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L’invention musicale collective est une pratique relativement répandue dans les lieux où la musique est enseignée. Souvent considérée comme une approche primordiale de la musique en ce qu’elle sollicite une forte implication du sujet et son ouverture aux autres, elle constitue pourtant un objet de recherche complexe. Elle recèle en particulier plusieurs paradoxes qui ne peuvent se résoudre que par un travail de conceptualisation autour des idées d’invention musicale et de guidage. Dans un premier temps, par un ancrage dans la cphénoménologie de Michel Henry, la thèse cherche à préciser l’idée de corps musicien à partir du concept henryen de corps vivant et à circonscrire les idées de musicalité et d’invention musicale. Dans un second temps, une méthode de recherche est élaborée, dans le sillage des travaux conduits par F. Varela pour servir son projet d’une neuro-psycho-phénoménologie, afin d’enquêter, par le recours à la technique d’explicitation de P. Vermersch, sur les conduites mentales de musiciens en situation d’invention musicale collective. Les résultats concernent de jeunes musiciens en formation professionnelle. Une première expérimentation montre quelques réactions de refuge face à la perte de la référence aux idiomes musicaux habituels. Une deuxième expérimentation ciblant les procédures d’invention d’un matériau musical met au jour un recours à des connaissances corporellement inscrites jamais désignées explicitement par les musiciens. En déduction de ces résultats, il apparaît que le guidage ne peut se définir dans l’absolu car il nécessite la prise en compte de ces processus mentaux autant que la maîtrise de la relation d’interdépendance qu’il noue avec euxCollective musical invention is a relatively widespread practice in venues where music is taught. Often considered an essential approach to music since it requires significant involvement of the subject and openness to others, it is nevertheless a complex object of research. In particular, it encompasses several paradoxes that can only be resolved by conceptualizing the ideas of musical invention and of guidance. First, by diving into Michel Henry's phenomenology, the purpose of this thesis is to clarify the concept of “embodied musicality” based on the Henryian concept of “embodied life” and to define the ideas of musicality and musical invention. In a second step, a research method is developed in the wake of the works conducted by F. Varela for his project of a neuro-psycho-phenomenology. This method involves investigating, through "the explicitation method of private thinking” elaborated by the French psychologist P. Vermersch, the mental behaviour of musicians placed in a situation of collective musical invention. The results refer to young musicians who are part of a professional syllabus. A first experiment shows that musicians tend to take refuge in various behaviors due to the loss of reference points regarding the usual musical idioms. A second experiment whose target is the process involved for inventing musical materials, reveals the use of body-memory knowledge which is sophisticated but never named by musicians. These results indicate that guidance cannot be defined in absolute terms, due to the fact that full account must be taken of the mental processes involved. It also requires mastering the interdependent relationship established with these processes
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Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Trenvouez, Arnaud. "Pour la conception de dispositifs de formation au travail collaboratif : analyse en ergonomie cognitive de l'activité collective en match d'improvisation théâtrale." Nantes, 2013. http://www.theses.fr/2013NANT3003.
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L'objectif de cette thèse était de proposer les aides à la conception de formation au travail collaboratif. Entre enjeux de conception et enjeux épistémiques, l'intelligibilité mutuelle apparaît comme un ressort essentiel à la performance collective en situation de collaboration. Pour comprendre ses conditions de production, nous avons parié sur une situation d'étude privilégiée originale : le match d'improvisation théâtrale. Six saynètes d'improvisation ont été analysées en référence au programme de recherche du cours d'action (Theureau, 2006). Les résultats mettent en évidence à un niveau local (a) cinq processus interactionnels, (b) trois systèmes contextuels mobilisés par les joueurs, © trois formes typiques de compréhension entre les joueurs, et (d) différentes ressources et processus participant à la (dé)construction de la. A un niveau global, sont mis en évidence (a) quatre phases caractéristiques dans la compréhension entre les joueurs. Ces résultats ont été complétés par une analyse des pratiques d'entrainements. Dans une approche enactive de la formation (Durand, 2008), et à partir de ces résultats (a), sont précisés des principes de conception de situations de formation au travail collaboratif, (b) des principes d'intervention pour les formateurs. Des situations pratiques de formation sont proposées.
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Hernandez-Ruiz, Haydée Margarita. "L'improvisation comme compétence, étude du déploiment d'un dispositif de gestion logistique." Thesis, Châtenay-Malabry, Ecole centrale de Paris, 2013. http://www.theses.fr/2013ECAP0010/document.
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Cette recherche est consacrée à l’étude du déploiement d’un dispositif de gestion logistique chez un constructeur automobile français. La théorie de la mise en acte des outils de gestion est utilisée pour analyser le processus du déploiement du dispositif de gestion MAF mutualisés. Celle-ci considère qu’il y a un processus d’adaptation par les utilisateurs lors de la mise en place du dispositif appelé « appropriation ». Notre proposition établit que cette appropriation se réalise « chemin faisant », sans planification et par la volonté des utilisateurs, trois caractéristiques de l’improvisation identifiées dans la littérature. A la suite des travaux de Ciborra, nous faisons appel au concept d’improvisation organisationnelle afin de caractériser les actions réalisées par les utilisateurs pour « faire avec » le dispositif de gestion. Notre démarche est fondée sur un aller-retour entre littérature et terrain qui nous a permis d’affiner les questions de recherche et la méthode d’analyse suite à la période d’observation participante d’un an (juillet 2009 à août 2010) au sein de l’équipe chez le constructeur automobile. Nous avons ainsi élaboré trois grilles de lecture pour identifier les difficultés rencontrées lors du déploiement du dispositif, caractériser les boucles prescription-improvisation lors de la mise en place du dispositif et les comparer. Notre étude nous emmène à proposer une définition de l’improvisation comme compétence à « faire avec » les outils de gestion et à construire un modèle du processus d’improvisationThis research studies the implementation of a management device at a French car manufacturer. Implementation theory is use for analyzing the device’s implementation process called « mutualized MAF ». This theory considers that an adaptation process is realized by the users during the device implementation. This process is called "appropriation". Our findings propose that this appropriation is realized «making path», without planning and voluntarily by the users, three improvisation characteristics identified by the literature. Following Ciborras’s work, we use organizational improvisation concept to characterize the actions performed by users to "make do" with the management device. Our approach is based on a going-and-coming process between literature and research ground which helped us to suit better our research questions and our analyzing method after one year observation period (July 2009 to August 2010) within the team at the automaker. We have developed three reading grids to identify difficulties encountered during the device, characterize prescription-improvisation loops during the implementation of the device and compare loops between them. Our study leads us to propose a definition of improvisation as a skill to "make do" with the management tools and to build a model of improvisation
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Canonne, Clément. "L'improvisation collective libre : de l'exigence de coordination à la recherche de points focaux. : cadre théorique. Analyses. Expérimentations." Phd thesis, Université Jean Monnet - Saint-Etienne, 2010. http://tel.archives-ouvertes.fr/tel-00676796.
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On s'intéresse ici à une classe particulière de phénomènes musicaux improvisés : ceux qui réunissent au moins deux musiciens improvisant simultanément et librement. Les musiciens placés dans cette situation doivent affronter un problème particulier : il n'y a aucun ensemble intersubjectif de données musicales (voire extra-musicales) qui vienne contrôler non seulement le devenir formel de l'improvisation (inter-détermination horizontale) mais encore la coexistence concurrente des différents discours improvisés (inter-détermination verticale).A partir de là, il s'agit de montrer que l'on peut penser l'improvisation collective libre, en tant qu'elle est une situation interactive, stratégique et collaborative, sous la catégorie générique du problème de coordination.Cette appartenance étant posée, la question est ensuite envisagée sous différents angles. Dans la première partie, la théorie des jeux, en particulier la théorie des points focaux, est mobilisée pour déterminer les heuristiques cognitives qui seront utilisées par les improvisateurs pour parvenir effectivement à se coordonner. On montre dans la deuxième partie la place centrale qu'occupe l'idée de coordination dans la dynamique et la gestion formelle d'une improvisation collective libre. Le cadre théorique est finalement confronté à deux types de données empiriques : des analyses d'extraits du festival Company Week, organisé par le guitariste Derek Bailey, dans la troisième partie ; et les résultats de cinq proto-expérimentations menées auprès de musiciens issus de la Norwegian Academy of Music et du CNSMD de Lyon, dans la quatrième partie.
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Houplain, Vanessa. "Développer une capacité collective de réponse en temps réel en contextes extrêmes." Electronic Thesis or Diss., Angers, 2024. http://www.theses.fr/2024ANGE0057.
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Cette thèse sur travaux a vocation à approfondir la compréhension des réponses dans le contexte de crise engendrée par la pandémie de Covid-19. Parce qu’elles sont en permanence soumises à l’imprévisibilité de leur environnement, les organisations doivent être capables de répondre en temps réel à de tels événements extrêmes qui désorganisent et menacent leur fonctionnement. Nous cherchons donc à comprendre comment développer une capacité collective de réponse en temps réel en contextes extrêmes. Notre thèse a pour originalité d’aborder cette question de la réponse à un événement extrême, habituellement difficile à observer, en mobilisant une approche qualitative réalisée en trois temps, ainsi qu'une vision dynamique de la réponse. Pour notre étude empirique, nous avons d’abord conduit des entretiens sur deux périodes auprès d'acteurs ayant été confrontés à la crise. Nous avons ensuite réalisé une étude de cas d’une université qui a apporté des réponses inédites pour faire face à l’imprévu.Nos résultats mettent en évidence que l’action collective improvisée peut être porteuse de sens pour les individus, lorsque l’organisation met en place des moyens pour les accompagner dans la progression de leurs actions. Nous mettons en avant plusieurs contributions majeures : notre modèle centré sur les vulnérabilités organisationnelles décrit comment des comportements humains, catalysés par des défaillances organisationnelles, peuvent empêcher d’anticiper une crise, puis limiter les capacités à improviser pour y répondre. Nous proposons la notion de potentiel transformatif de l’improvisation collective pour décrire comment les collectifs évoluent d’un mécanisme de construction de sens par l’improvisation vers un mécanisme de construction de sens plus réflexif. Nous mettons en évidence que les valeurs relationnelles et leur capitalisation sont un levier de la construction collective de sens pour réussir les improvisations, initier des transformations à l’issue de la crise et engager l’organisation dans une dynamique de renforcementThe aim of this thesis is to gain deeper insights into the responses to the crisis caused by the Covid-19 pandemic. Since organisations are constantly exposed to unpredictability, they must be capable of responding in real time to such extreme events, which disrupt and threaten their operations. Thus, we aim to understand how to develop a collective capacity for real-time response in extreme contexts.The original feature of our thesis is that it addresses the question of responding to an extreme event, which is typically difficult to observe, by using a three-phase qualitative approach as well as a dynamic perspective on the response. For our empirical study, we first conducted interviews in two waves with individuals who had faced the crisis. We then performed a case study of a university that developed innovative responses to manage the unexpected.Our findings reveal that improvised collective actions can provide meaning for individuals, especially when the organisation establishes mechanisms to support them as their efforts evolve. We emphasise several key contributions: our model, which focuses on organisational vulnerabilities, illustrates how human behaviour, when triggered by organisational failures, can hinder the anticipation of a crisis and subsequently limit individuals' capacity to cope. We introduce the notion of the transformative potential of collective improvisation to describe how collectives progress from sensemaking through improvisation to more reflective sensemaking. Additionally, we demonstrate that relational values and their capitalisation are a critical lever for collective sensemaking, enabling successful improvisations, fostering post-crisis transformations, and strengthening the organisation
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Wärnheim, Marcus. "Sök och du skall finna : Om att utveckla en kollektivt improviserande trio." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4026.
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In many music ensembles there are hierarchies and a focus on the vision of the bandleader. This thesis explores the possibilities of creating conditions for improvisational co-creation and follows the common development-process of an improvising trio. Emphasis is placed on democratic interplay and a collective expression without compromising with each musician’s personal sound. Through structured and free improvisations, the trio discovered and developed their musical language, limitations and possibilities. Self-recording, listening to it and discussions about what was experienced, perceived and what potential variations there might be alongside with a non-judgmental attitude served as a powerful tool to raise awareness and to develop the trio. The work resulted in a live streamed concert consisting of a freely improvised piece of music. By focusing on process-oriented solutions that involves and activates the whole ensemble, the trio has been able to develop an interplay and expression that is nonhierarchical, spontaneous and has potential to change.Marcus Wärnheim - altsaxofon
Karin Ingves - piano
Kristian Remnelius - trummor
All musik av alla medlemmar.
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Besbes, Fehmi. "Improvisation et dramaturgie, l’« Improturgie » en Tunisie : poïétique de l’œuvre en devenir à l’exemple d’Otages par le Théâtre organique." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100132.
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L’objet de cette étude est d’interroger la place de l’improvisation dans la création théâtrale tunisienne, depuis ses origines – où elle apparaît dans des formes parathéâtrales, (el-Fdawi le conteur solo, Jha le blaguer sage, le théâtre d’ombre, etc.), jusqu’à nos jours. L’accent est mis sur les rapports organiques entre improvisation et dramaturgie, dans la formation et la création théâtrales en Tunisie, durant les dernières décennies. La notion d’"improturgie", qui traverse toute la thèse, rend compte d’une poïétique propre à de nombreux créateurs – tels Ezzeddine GANNOUN et Fadhel JAÏBI – qui consiste à construire une œuvre à partir du travail de plateau, à la recherche d’une écriture dramatique qui témoigne du contexte historique, culturel, social, idéologique et politique dans lequel elle s’inscrit. En l’absence d’un répertoire dramatique, l’"improturgie" apparaît ainsi non seulement comme un moteur d’activation dramaturgique sur la voie d’un théâtre militant – luttant contre l’impérialisme d’État et contre toute forme d’intégrisme – mais aussi comme un laboratoire de recherche pour des formes théâtrales encore inédites dans le monde arabo-musulmanThe subject of this study is to investigate the place of improvisation in the Tunisian theatrical creation since its inception, as it appears in many paratheatrical forms (such as el-fedawi, the solo storyteller, Jha, the wise joker, underground theatre, etc.), until nowadays. The focus is laid on the organic relationship between improvisation and dramatic art in Tunisian theatrical formation and creation throughout the last decades. The concept of "improturgie", which spans the whole dissertation, accounts for a poietic which is specific to particular playwrights such as Ezzeddine GANNOUN and Fadhel JAÏBI, and consists of making a play by drawing on the work on stage in the search for a playwrighting which reflects the historical, cultural, social, ideological and political context of the play. In the absence of a dramatic directory, "improturgie" appears not only as a catalyst towards a militant drama – fighting against state imperialism and all forms of fundamentalism – but also as a research laboratory for more novel theatrical forms in the Arab and Muslim worlds
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KOSMYNA, DAVID J. "WHAT YA WANT ME TO DO?: A GUIDE TO PLAYING JAZZ TRUMPET/CORNET IN THE NEW ORLEANS STYLE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148060987.
Full textBooks on the topic "Improvisation collective"
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Darling, Linda Farr, Gaalen Erickson, and Anthony Clarke, eds. Collective Improvisation in a Teacher Education Community. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5668-0.
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Coleman, Ornette. Free Jazz: A collective improvisation by the Ornette Coleman Double Quartet. New York, N.Y: Atlantic Jazz, 1988.
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Bernard, Lortat-Jacob, ed. L' Improvisation dans les musiques de tradition orale: Ouvrage collectif. Paris: SELAF, 1987.
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Young, Rebecca. Drama projects for the middle school classroom: A collection of theatre activities for young actors. Colorado Springs, Colorado: Meriwether Pub. Ltd., 2013.
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Bishop, Tom, Gina Bloom, and Erika T. Lin, eds. Games and Theatre in Shakespeare's England. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723251.
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This collection of essays brings together theories of play and game with theatre and performance to produce new understandings of the history and design of early modern English drama. Through literary analysis and embodied practice, an international team of distinguished scholars examines a wide range of games—from dicing to bowling to roleplaying to videogames—to uncover their fascinating ramifications for the stage in Shakespeare’s era and our own. Foregrounding ludic elements challenges the traditional view of drama as principally mimesis, or imitation, revealing stageplays to be improvisational experiments and participatory explorations into the motive, means, and value of recreation. Delving into both canonical masterpieces and hidden gems, this innovative volume stakes a claim for play as the crucial link between games and early modern theatre, and for the early modern theatre as a critical site for unraveling the continued cultural significance and performative efficacy of gameplay today.
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Elma, Hodžić. Ratne improvizacije: Iz kolekcije Opkoljeno Sarajevo Historijskog muzeja Bosne i Hercegovine = Wartime improvisations : from the Besieged Sarajevo collection of the History Museum of Bosnia and Herzegovina. Sarajevo: Historijski muzej Bosne i Hercegovine, 2021.
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Hagberg, Garry L. Ensemble Improvisation, Collective Intention, and Group Attention. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.011.
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Jazz improvisation offers raw material of considerable value for issues in the philosophy of mind, but this material remains insufficiently investigated. Collective intention and distributed group attention have emerged within philosophy in recent years as fruitful areas of study: the long-entrenched dualistic picture of an inner mental event standing behind its physical manifestation has been supplanted by a model of embodied action that is unburdened by a misleading inner/outer dichotomy (so we can now see how an intentional musical work emergeswithin, and not prior to, its physical sound). This makes possible a new focus on a special form of collective intentional action that is not contained within one single mind at one given moment, but rather distributed across a group of individuals engaged in a cooperative, interactively creative performance; cases examined here include John Coltrane, among others.
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Darling, Farr. Collective Improvisation in a Teacher Education Community. Springer Nature, 2008.
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Clarke, Anthony, Gaalen Erickson, and Linda Farr Darling. Collective Improvisation in a Teacher Education Community. Springer Netherlands, 2008.
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Clarke, Anthony, Gaalen Erickson, and Linda Farr Darling. Collective Improvisation in a Teacher Education Community. Springer, 2007.
Find full textBook chapters on the topic "Improvisation collective"
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Epstein, Mikhail. "Collective Improvisation And Transcultural Consciousness." In Transcultural Experiments, 31–55. New York: Palgrave Macmillan US, 1999. http://dx.doi.org/10.1057/9780312299712_3.
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Canonne, Clément, and Nicolas Garnier. "A Model for Collective Free Improvisation." In Mathematics and Computation in Music, 29–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_3.
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Sinner, Anita, and Linda Farr Darling. "Virtually Aesthetic: The Cite Cohort’s Experience Of Online Learning." In Collective Improvisation in a Teacher Education Community, 137–53. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-5668-0_11.
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Clouston, Dot, Lee Hunter, and Steve Collins. "Social Studies Education in School." In Collective Improvisation in a Teacher Education Community, 87–100. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-5668-0_8.
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Han, Isla Xi, and Stefana Parascho. "Improv-Structure: Exploring Improvisation in Collective Human-Robot Construction." In Lecture Notes in Civil Engineering, 233–43. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20241-4_16.
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Nisula, Anna-Maija, and Kirsimarja Blomqvist. "Understanding and Fostering Collective Ideation: An Improvisation-Based Method." In Knowledge Management and Organizational Learning, 29–53. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10922-6_3.
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Villeneuve, Jérôme, James Leonard, and Olivier Tache. "Instruments and Sounds as Objects of Improvisation in Collective Computer Music Practice." In Lecture Notes in Computer Science, 636–54. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_41.
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Kind, Sylvia. "Collective Improvisations: The Emergence of the Early Childhood Studio as an Event-Full Place." In Communities of Practice: Art, Play, and Aesthetics in Early Childhood, 5–21. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70644-3_2.
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Eidsaa, Randi Margrethe, and Mariam Kharatyan. "10. Rethinking Music Performance Education through the Lens of Today’s Society." In Teaching Music Performance in Higher Education, 251–70. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.13.
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This chapter aims to provide insights into the perspectives that arose from the data collection and analysis carried out by the Norwegian team of the Erasmus+ project REACT - Rethinking Music Performance in European Higher Education Music Institutions. The data was collected through a series of small-scale studies, including REACT - network activity at the University of Agder and the Academy of Music in Oslo, and an analysis of reports following the participation of a group of fourteen music performance students in a creative ensemble project at the University of Agder. We also refer to a small curriculum study conducted at the University of Agder. The study addressed some of the educational demands that emerged from extensive international research on music performance curricula and pedagogy in Higher Music Education during the early, mid, and late 2010s. The chapter highlights novel approaches to music performance, including community-based perspectives, creative ensemble collaborations, and improvisation in students' music education. These approaches aim to address the challenges that students face when pursuing professional careers in music today. The discussion sheds light on the ways in which music education curricula can be strengthened to support students entering their professional music careers and to broaden their musical thinking, thus preparing them to become contributors in society. The chapter references the small-scale research project Music for Microsculptures, an interdisciplinary student concert that reflects the results of data analysis and aspects often commented on in research on music performance curricula in Higher Education.
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Pisano, Jessica. "Improvisation." In Staging Democracy, 90–112. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501764066.003.0006.
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This chapter explores people's interactions with local authorities over the course of a decade in villages in a southwestern border region of Ukraine. One of the places where twenty-first-century changes in economic relations shifted patterns of people's participation in political theater was Zakarpattia, a region in western Ukraine at the edge of the Pannonian basin. There, the threat of collective punishment that had hung over people's heads a decade earlier became a political economy of individualized coercion. Under pressure from their supervisors to deliver votes, yet often without additional resources at their disposal to do so, local agents in the countryside improvised approaches to securing broad participation in electoral performances. The threats they delivered were particular, calibrated to individual households' needs and fears.
Conference papers on the topic "Improvisation collective"
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Socican, Igor. "The New Orleans and Chicago styles aspects from the perspective of the jazz double bass." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.05.
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The author aims to outline some aspects of the New Orleans and Chicago Jazz styles, to show the importance of the ethnic, geographical, and legal factors in the emergence of New Orleans Jazz in the early 1900s and its later derivation into the Chicago Style in the 1920s. There are examined the beneficial predecessor factors of these styles — the evolution of street brass band orchestras (marching bands), the spirituals, the blues and ragtime and their stylistic features, collective improvisation, the call-and-response principle, that have been the base for the development of jazz music in general. In this context, mention is made of the role of the double bass in the examined period of classical jazz.
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Wiederspahn, Peter, and Patrick Kana. "Furniture Urbanism: A Pedagogy for Fabrication and Social Engagement." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.11.
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Furniture Urbanism is a fabrication-oriented design studio conducted to provide our students with an experience of engaging the realities of full-scale fabrication and the complexities of designing objects for public urban spaces. Co-conceived and co-led by an architecture professor and a fine-furniture maker who manages the university maker spaces, this course highlighted their varying yet complimentary pedigrees of furniture, fabrication, and material insights. Furniture Urbanism is a hypothesis that is related to urban furniture, the human-scaled urban objects and infrastructures that populate the public realm. It also draws from Everyday Urbanism, the activation of common and unconsidered urban spaces with periodic events and opportunistic uses (Crawford 2008). It also has affiliations with Tactical Urbanism, low-cost, high-impact urban interventions to transform public behavior and use of city spaces (Lydon and Garcia 2015). Furniture Urbanism is meant to stimulate social interaction by engaging people not only with the designed object but also with the other urbanites who are drawn to it. The studio was composed of two phases: Furniture and Urbanism. In the Furniture phase, each student produces a finished furniture object, building skills alongside an awareness of furniture from a creator and user standpoint. This immediately engaged students in improvisational thinking and a ‘designing-through-making’ process. Prototyping early and often supported student improvisation while increasing their confidence in navigating the undiscovered. In the Urbanism phase, students formed design teams to conduct a collaborative process of merging the individual designs into purposeful propositions. The final Furniture Urbanism objects were then deployed as finished prototypes across our urban campus. Through this sequence of individual and collective projects, the students learned to balance what craftsman and author David Pye describes as the “workmanship of risk” that is dependent on individual dexterity and the “workmanship of certainty” that is rooted in systems of production (Pye, 1995).
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Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.
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This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
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Amaral, Tatiana Gondim, Karinny Vieira Elias, Camila Mariana Brandão, and Pedro Boroatti Braga. "Identificação de perdas por making-do e seus impactos em canteiros de obras goianos." In XI SIMPÓSIO BRASILEIRO DE GESTÃO E ECONOMIA DA CONSTRUÇÃO. Antac, 2021. http://dx.doi.org/10.46421/sibragec.v11i00.17.
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The making-do stands out for representing a potential generator of other wastes, such as safety reduction, quality problems, productivity and rework. The paper seeks to analyze the production-related wastes by making-do in order to identify, through the categories of improvisation wastes, the impacts generated by them, from the perspective of the Goiás scenario. At the end of the analysis a matrix was applied for risk analysis of making-do wastes. Data were collected from three construction companies in the city of Goiânia. For data collection, data triangulation was performed through the results of interview analysis, direct non-participant observations, photographic records and document analysis. After data analysis, it is concluded that most improvisations are related to short term planning, logistics and projects. However, the most important impacts of these types of wastes are the need for rework and material waste. As a result, we highlight the importance of studying the wastes related to making-do, as it goes beyond the waste of materials, highlighting issues related to health and safety of the workforce and impacts on the production process as a whole.
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Guevara, Cesar, Raquel Lara Guevara, and Diego Mauricio Bonilla Jurado. "Bricoleurs: Resilience in Improvised Work in a Publishing House." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001610.
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This study analyzes one of the issues that organizational psychology has dealt with in the last decade in a more exhaustive way: resilience is the result of having an optimistic nature as long as optimism does not distort the sense of reality. From a phenomenological perspective, publishing house Queyám was analyzed from the strategic part of the company, in this case a married couple that is in the presidency, as a sample the 6 employees were chosen in their different areas applying the focus group technique where the wife served Moderator of the structured interview with open questions of in vivo coding analyzing literal phrases that express the words used by the employees. It is discussed with the Nobel Prize in Physics Richard Feynman who became an expert in opening safes without knowing the combination, not only trying to find the mechanisms that allowed him to do so, but also collecting the psychological impressions of the people who used those safes or to find out how they chose the opening codes, finally this company has built resilience using improvisation as a fundamental capability
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Galaicu, Violina. "Th e autochthonous element in Byzantine pew singing from the Romanian area in the XVI - XVII centuries." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.16.
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A fi rst and precious Romanian contribution to the Byzantine musical heritage of the designated period is contained in the codices from medieval Putna (most of them date from the XVI century). Th e psalters of Putna, led by Evstatie Protopsaltu, developed, through joint eff ort, a special melodic style, recognizable in the landscape of Eastern European Byzantine sound art. Th e songs written or transcribed in Putna (with texts in Greek and Slavonic) stand out for their melismatic luxuriance, the variety of rhythmic structures, the improvisational momentum in the melodic proliferation. Even if it does not bring into the equation phenomena of the scope of the Musical School of Putna, the XVII century makes the decisive turning point towards the Romanization of religious singing of the Byzantine tradition. Among the catalyzing circumstances of the process are: the reforming current coming from the West through Transylvania, the grounding of printing in the Romanian countries, the crystallization of the Romanian literary language, the act of uniting with Rome of a part of Transylvanian Romanians. Th e socio-cultural and identity ferment of the XVI – XVII centuries prepared the spiritual eff ervescence of the Brancovean era and the launch of the fi rst collection of sacred chants with Romanian text - the Romanian Psalticha by Filotei sin Agăi Jipei.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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De La Garza, Cecilia, and Nora Oufi. "Health Crisis Management and Resilience Factors: A Comparative Study in Two Sectors." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001567.
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The objective of this study is to analyze the modalities of health crisis management in two different sectors during the Covid-19 crisis: the hospital and the nuclear industry. The aim is to:- Characterize the health crisis: similarities and differences compared to other known crises - nuclear, natural crisis (storm, earthquake, flood). - Identify elements of similarity between sectors in the modalities of crisis management and particularities related to the specificities of the socio-technical systems.- Identify the resilience factors and difficulties- Make proposals to enhance the robustness of crisis organizations.Study BackgroundBoth the hospital and the nuclear industry (EDF) have had to organize and adapt to continue their activities from the beginning of the crisis in March 2020.On the hospital side, an emergency plan (White Plan) provides a reconfiguration of the hospital in case of health crisis. On the nuclear side, a Business Continuity Plan exists as well as a pandemic emergency plan (support and mobilization plan).It was at La Pitié Salpêtrière Hospital, a reference hospital for infectious diseases, that the first death of Covid19 was recorded. The crisis unit was activated at that time. The hospital then opened its doors to us for human and organizational factors study of crisis management in April 2020. Concerning the nuclear sector, the health crisis management analysis could only be carried out from October 2020 at the national level and the nuclear power plants.Methodological approachWe applied a systemic approach combining ergonomics, cognitive psychology, and sociology to study socio-technical systems safety.The study focused on crisis management via an analysis of organizational resilience to identify the factors of success and difficulty. Given the temporality of this crisis, the study was carried out in three stages at the hospital.1. April and May 2020: i) a series of remote interviews with various hospital staff were conducted; ii) a passive listening follow-up of about 30 phone meetings of the crisis unit; iii) a documentary analysis of the planned crisis organization.2. November and December 2021: i) a second series of interviews in the hospital emergency unit.3. June and July 2021 in the intensive care unit: i) a third round of interviews; ii) field observations in the hospital; iii) a literature review.In the nuclear field we conducted two retrospective studies at different times, focused on the most critical phase of the crisis (from March to May 2020):1. October - November 2021: an analysis of the health crisis’ management at the national level via a series of interviews completed by an analysis of the crisis reference systems.2. August - September 2021: an analysis of the health crisis management in a Nuclear power plant via interviews and an analysis of site-specific documents. ResultsWe observed similarities in the way the crisis was managed, in terms of management, which proved to be factors of success both at the hospital and at EDF, for example,- A crisis management that integrates the business lines and is top-down, but that listens and takes into account proposals from the field.- Experience of crises and emergency situations, which facilitates crisis management and adaptation.- The habit of protocols facilitating the integration of new constraints.- Very strong collective mobilization of personnelHowever, there are linked difficulties in both sectors, for example, to the virus fear, the anxiety of contaminating one's family and friends, especially at the beginning, and then weariness and fatigue linked to the duration of the crisis.Particularities concerning the work activity in the hospital will be discussed especially in relation to the reconfiguration of the services and to the necessary adaptations and improvisations of patients care protocols and procedures, among others.These studies are source of learning, about crisis management and particularly long-term crises that have a lasting impact on socio-technical systems. Proposals in terms of crisis organization and preparedness for this type of crisis will be presented.