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Books on the topic 'Improvisation training'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Training to imagine: Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership, and learning. Stylus, 2001.

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2

Eldredge, Sears A. Mask improvisation for actor training & performance: The compelling image. Northwestern University Press, 1996.

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3

Donelian, Armen. Training the ear: For the improvising musician. Advance Music, 1992.

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4

Training to imagine: Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. 2nd ed. Stylus Pub., 2013.

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5

Belt, Lynda. Improv game book II: A source book for improvisation performance training and games. Thespis Productions, 1994.

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6

Ulrich, Kaiser. Gehörbildung: Satzlehre, Improvisation, Höranalyse : ein Lehrgang mit historischen Beispielen. Bärenreiter, 1998.

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7

Grantham, Barry. Playing commedia: A training guide to commedia techniques. Heinemann, 2000.

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8

Playing commedia: A training guide to commedia techniques. N. Hern Books, 2000.

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9

Impro learning: How to make your training creative, flexible, and spontaneous. Gower, 1998.

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10

Music theory through improvisation: A new approach to musicianship training. Routledge, 2010.

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11

Jackson, Paul Z. 58 1/2 ways to improvise in training: Improvisation games and activities for workshops, courses and meetings. Gower, 2000.

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12

Jackson, Paul Z. 58 1/2 ways to improvise in training: Improvisation games and activities for workshops, courses, and team meetings. Crown House Pub., 2003.

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13

Koppett, Kat. Training to imagine: Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership, and learning. Stylus, 2001.

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14

Glouberman, Misha. The chairs are where the people go: How to live, work, and play in the city. Faber and Faber, 2011.

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15

Bradshaw, Kevin. The curriculum, training methods and history of a comptetitive improvisational comedy company. E. Mellen, 2004.

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16

Mason, Thom David. The art of hearing: Aural skills for improvisers. Music LTD, 1995.

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17

Playing along: 37 learning activities borrowed from improvisational theater. Whole Person Associates, 1997.

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18

Carroll, Debbie. Clinical improvisation techniques in music therapy: A guide for students, clinicians and educators. Charles C. Thomas, Publisher, Ltd., 2013.

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19

1962-, Murphy Paul, Clendinning Jane Piper, and Marvin Elizabeth West 1955-, eds. The musician's guide to aural skills. 2nd ed. W. W. Norton, 2012.

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20

Training Using Drama. Kogan Page Ltd, 2002.

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21

Playing Commedia: A Training Guide to Commedia Techniques. Heinemann Drama, 2001.

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22

Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.

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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and les

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23

Jackson, Paul Z. 58 1/2 Ways to Improvise in Training: Improvisation Games and Activities for Workshops, Courses and Team Meetings. Gower Publishing Limited, 2000.

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24

Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Keyboard Harmony, and Improvisation. Oxford University Press, 2013.

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25

(Editor), Linda Farr Darling, Gaalen Erickson (Editor), and Anthony Clarke (Editor), eds. Collective Improvisation in a Teacher Education Community (Self Study of Teaching and Teacher Education Practices). Springer, 2007.

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26

Gooley, Dana. Improvisatoriness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0007.

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Chapter 6 differs from the other chapters in its focus on representations and discourses about improvisation, which overtook practices in the period 1847–1880. The chapter begins with a discussion of pockets of improvisational activity that survived in the tributaries, including conservatory training in accompagnement, the ongoing interludes and preludes of concert pianists, and the uninterrupted practice of organists. It then discusses literary representations of improvisation, all of which present it in aesthetically and ethically positive light. Wagner’s essay “On the Destiny of Opera” prai

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27

(Foreword), Simon Callow, ed. The Comic Mask in the Commedia dell'Arte: Actor Training, Improvisation, and the Poetics of Survival. Northwestern University Press, 2007.

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28

Christine, Wahl, Scriber Clarice, and Bloomfield Beth, eds. On becoming a leadership coach: A holistic approach to coaching excellence mastery and improvisation. Palgrave MacMillan, 2008.

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29

Music Minus One: Jazz Improvisation: A Course in Improvising, Sight-Reading&Ear Training (5 CD-Set). Music Minus One, 2000.

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30

Heti, Sheila. Chairs Are Where the People Go: How to Live, Work, and Play in the City. Farrar, Straus & Giroux, 2011.

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31

Gooley, Dana. Schumann and the Economization of Musical Labor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0005.

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Chapter 4 details Robert Schumann’s evolution from an eager and fluent improviser into a composer who advocated writing music away from the piano entirely. His evolution demonstrates the growing polarization between improvisation and composition, modes of music-making that were generally viewed as mutually beneficial until the 1830s. His early, piano-centered output provides clues into how certain transitional and rhetorical strategies were rooted in keyboard improvisational practices, but consciously invested with a “depth” or “psychology” that gave them a romantic cast. The chapter’s interpr

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32

Muyumba, Walton M. Brilliant Corners. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.008.

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“Brilliant Corners: Improvisation and Practices of Freedom” is a critique of John Edgar Wideman’s novel,Sent for You Yesterday. The chapter interrogates Wideman’s attempt to expose the limits of masculinity and racial thinking through his use of blues-idiom musical themes and jazz aesthetics in the novel. It argues that Wideman, rather than essentializing or reifying status quo conceptions of blackness and masculinity, offers through Doot, the novel’s narrator, a model of a blues idiom literary mind and body improvising within the liminal spaces of various identities, voices, and narratives. W

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33

Austin, Diane. Vocal Psychotherapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.4.

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Vocal psychotherapy is the first model of music psychotherapy that focuses primarily on the voice. Vocal psychotherapy can be defined as the use of the breath, sounds, vocal improvisation, songs, and dialogue within a client-therapist relationship to promote intrapsychic and interpersonal growth and change. Since 2000 the Vocal psychotherapy training program in New York has been training postgraduate music therapists. This training provides the opportunity to learn the theoretical underpinnings that integrate the physical, psychological and spiritual benefits of singing, along with in-depth un

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34

Ahonen, Heidi. Adult Trauma Work in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.47.

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Adult trauma work in music therapy is well established globally, and various approaches presented in the literature reveal the positive impact of using music as part of a therapeutic process. The main music psychotherapy techniques in adult trauma work include improvisation and music listening.Group Analytic Music Therapy(GAMT) was developed by the author. GAMT is a combination of group analysis, interpersonal theories, and intersubjectivity. The therapy group is observed and analyzed from three different perspectives, responding to: (1) The individual in the group (the intersubjective window)

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35

Koppett, Kat. Training to Imagine: Practical Improvisational Theatre Techniques to Enhance Creativity, Teamwork, Leadership, and Learning. Stylus Publishing, 2001.

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36

Edwards, Jane. Methods and Techniques. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.48.

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Methods and techniques in music therapy are distinct from approaches and models which provide theoretical principles to guide action. Methods and techniques are music-based ways in which the service user or client is engaged musically. The techniques used are based on improvisational, compositional, and music listening opportunities that music therapists engage with clients. Music therapists can use music-based techniques with any combination of acoustic, electric, or electronic instrumentation, and the use of vocalization or singing is also offered. Anyone with musical skills can play music f

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37

Lilley, Andrew K. The Artistry of Bheki Mseleku. African Minds, 2020. http://dx.doi.org/10.47622/9781928331667.

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Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz musicians and has left an infinite source of knowledge to draw on. The Artistry

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38

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parke

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39

Minett, Mark. Robert Altman and the Elaboration of Hollywood Storytelling. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523827.001.0001.

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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the “Hollywood Renaissance” or “New Hollywood” period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rat

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