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Journal articles on the topic 'Improvise'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Kloeckl, Kristian. "The Urban Improvise." Design Issues 33, no. 4 (2017): 44–58. http://dx.doi.org/10.1162/desi_a_00460.

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In this article I draw a parallel between the responsive nature of urban environments in today's hybrid cities and improvisation in the performing arts. By drawing on material from the practice and study of improvisation, as well as the humanities and social sciences, I examine the nature of improvisation and its relationship with urban life. Based on this approach, four key positions are proposed as foundational elements for an improvisation-based model of urban interaction design. A brief analysis examines this model in relation to three existing projects, and by using responsive urban light

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2

Schiaffini, Giancarlo. "Never improvise improvisation." Contemporary Music Review 25, no. 5-6 (2006): 575–76. http://dx.doi.org/10.1080/07494460600990711.

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3

Norgaard, Martin. "How Jazz Musicians Improvise." Music Perception 31, no. 3 (2012): 271–87. http://dx.doi.org/10.1525/mp.2014.31.3.271.

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It is well known that jazz improvisations include repeated rhythmic and melodic patterns. What is less understood is how those patterns come to be. One theory posits that entire motor patterns are stored in procedural memory and inserted into an ongoing improvisation. An alternative view is that improvisers use procedures based on the rules of tonal jazz to create an improvised output. This output may contain patterns but these patterns are accidental and not stored in procedural memory for later use. The current study used a novel computer-based technique to analyze a large corpus of 48 impro

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4

Johnson-Laird, P. N. "How Jazz Musicians Improvise." Music Perception 19, no. 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.

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This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new m

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5

Jacobsen, Erica K. "Improvise, Adapt, and Overcome." Journal of Chemical Education 85, no. 1 (2008): 13. http://dx.doi.org/10.1021/ed085p13.

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6

Haidrani, Layla. "An ability to improvise." Emergency Nurse 24, no. 10 (2017): 41. http://dx.doi.org/10.7748/en.24.10.41.s28.

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Bengtsson, Sara L., Mihály Csíkszentmihályi, and Fredrik Ullén. "Cortical Regions Involved in the Generation of Musical Structures during Improvisation in Pianists." Journal of Cognitive Neuroscience 19, no. 5 (2007): 830–42. http://dx.doi.org/10.1162/jocn.2007.19.5.830.

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Studies on simple pseudorandom motor and cognitive tasks have shown that the dorsolateral prefrontal cortex and rostral premotor areas are involved in free response selection. We used functional magnetic resonance imaging to investigate whether these brain regions are also involved in free generation of responses in a more complex creative behavior: musical improvisation. Eleven professional pianists participated in the study. In one condition, Improvise, the pianist improvised on the basis of a visually displayed melody. In the control condition, Reproduce, the participant reproduced his prev

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8

Bernier, Francie. "Editorial - Nurses: The Professionals Who Improvise to Improve Our World." Urologic Nursing 36, no. 5 (2016): 215. http://dx.doi.org/10.7257/1053-816x.2016.36.5.215.

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9

Snell, II and Azzara. "Collegiate Musicians Learning to Improvise." Bulletin of the Council for Research in Music Education, no. 204 (2015): 63. http://dx.doi.org/10.5406/bulcouresmusedu.204.0063.

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10

Ferrell, Betty Rolling, and Margo McCalfery. "HOW WELL DO YOU IMPROVISE?" Nursing 24, no. 5 (1994): 85. http://dx.doi.org/10.1097/00152193-199405000-00027.

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11

Kenney, Susan Hobson. "Young Children Read and Improvise." General Music Today 25, no. 3 (2012): 47–49. http://dx.doi.org/10.1177/1048371311434081.

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12

Banerji, Ritwik. "Maxine’s Turing Test – A Player-Program as Co-Ethnographer of Socio-Aesthetic Interaction in Improvised Music." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (2021): 2–7. http://dx.doi.org/10.1609/aiide.v8i4.12565.

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Beyond the goal of refining system design to the needs and tastes of users, user evaluation of interactive music systems offers a method of examining the nature of musical creativity as understood by its human practitioners. In the case of improvising music systems, user study and evaluation of a system’s ability to improvise may be useful in the ethnomusicological study of musical interaction in contemporary improvised music. A survey of preliminary findings based on the interactions of an improvising system, Maxine, with several improvisers is discussed, with results suggesting methodologica

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13

Abraham, Joseph, Leonidas Palaiodimos, and Shitij Arora. "COVID-19 Therapeutics: Improvise—Adapt—Learn." Journal of Clinical Medicine 11, no. 18 (2022): 5312. http://dx.doi.org/10.3390/jcm11185312.

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14

Hickey, Maud. "Teaching Ensembles to Compose and Improvise." Music Educators Journal 83, no. 6 (1997): 17–21. http://dx.doi.org/10.2307/3399019.

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15

Vitti-Alexander, Maria Rosaria, Luigi Pirandello, J. Douglas Campbell, and Leonard G. Sbrocchi. "Tonight We Improvise and "Leonora, Addio"." Italica 66, no. 1 (1989): 64. http://dx.doi.org/10.2307/479311.

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16

Higgins, Jonathan. "More Than an Instrument: Improvising with failing playback media." Organised Sound 26, no. 1 (2021): 110–18. http://dx.doi.org/10.1017/s1355771821000108.

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The adoption of playback media – such as vinyl and the compact disc – by performers as a means of sound creation and manipulation sees our perception of these media ‘elevated’ to the status of an instrument. As this practice develops, improvisers push these devices further in pursuit of new sounds, including actively exploring the sonic potential of failure and destruction. This article argues that when pushed to the point of failure, playback media begin to function as an improviser, exhibiting musical agency over the performance that mirrors that of human improvisers. This article will ident

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17

Knapp, Bettina. "Machine and Magus in Pirandello'sTonight We Improvise." Modern Drama 30, no. 3 (1987): 405–13. http://dx.doi.org/10.3138/md.30.3.405.

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18

Charles, David. "Improvise: Scene from the Inside Out (review)." Theatre Topics 15, no. 2 (2005): 242–43. http://dx.doi.org/10.1353/tt.2005.0020.

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19

Cipolla, Gaetano. "Review: Tonite We Improvise and “Leonora, Addio!”." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (1989): 354–57. http://dx.doi.org/10.1177/001458588902300153.

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20

Webb, Richard. "Improvise! Shoe-string solutions to big physics." New Scientist 220, no. 2948-2949 (2013): 74–75. http://dx.doi.org/10.1016/s0262-4079(13)62970-x.

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21

Ndihokubwayo, Kizito. "College Students Improvised Ideas during Physics Laboratory Activities." Journal of Classroom Practices 1, no. 1 (2022): 1–9. http://dx.doi.org/10.58197/prbl/tbay8568.

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This study aims at checking college student-teachers’ transferability ideas from physics laboratory activities to improvised materials. We employed undergraduate students from the University of Rwanda College of Education to carry it out during their laboratory experiments session. Since these students are future secondary teachers, we first observed them performing Ohms Law, Faraday law, Wheatstone bridge, and Compass magnet experiments. We followed them, asking them to compare how they could improvise from what they did at school whenever there were no conventional materials. We found that s

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22

Sharma, Atul, OmeadIbraheem Hussain, and Ashish Sharma Sharma. "A Smarter Way to Improvise Learning Outcome based on Computer Application." International Journal of Innovative Research in Computer Science & Technology 7, no. 1 (2019): 1–5. http://dx.doi.org/10.21276/ijircst.2019.7.1.1.

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23

Janvier, Annie. "Introduction to the Personal Narratives: Learning to Improvise." Current Problems in Pediatric and Adolescent Health Care 41, no. 4 (2011): 102–3. http://dx.doi.org/10.1016/j.cppeds.2010.11.001.

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24

Biles, John A. "GenJam in Perspective: A Tentative Taxonomy for GA Music and Art Systems." Leonardo 36, no. 1 (2003): 43–45. http://dx.doi.org/10.1162/002409403321152293.

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GenJam is an interactive genetic algorithm (GA) that models a human jazz improviser and performs regularly as the author's sideman on jazz gigs. GenJam learns to improvise full-chorus solos under the guidance of a human mentor and “trades fours” in real time with a human performer in “chase” choruses. In this article, the author first briefly describes GenJam's architecture, representations, genetic operators and performance characteristics. He then places GenJam in the context of a proposed taxonomy for GA-based music and art systems.

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25

Barton, Scott. "The Human, the Mechanical, and the Spaces in Between: Explorations in Human-Robotic Musical Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (2021): 9–13. http://dx.doi.org/10.1609/aiide.v9i5.12657.

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HARMI (Human and Robotic Musical Improvisation) is a software and hardware system that enables musical robots to improvise with human performers. The goal of the system is not to replicate human musicians, but rather to explore the novel kinds of musical expression that machines can produce. At the same time, the system seeks to create spaces where humans and robots can communicate with each other in a common language. To help achieve the former, ideas from contemporary compositional practice and music theory were used to shape the system’s expressive capabilities. In regard to the latter, res

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26

Nagpal, Madhu, Ripan Bala, and Simran J. Kaur. "To Improvise Risk Reduction Strategies in Obstetrical ICU Admissions." AMEI's Current Trends in Diagnosis & Treatment 2, no. 2 (2018): 82–87. http://dx.doi.org/10.5005/jp-journals-10055-0044.

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27

Ion, Mihaela C., Adela E. Puha, Tudor Suciu, and Lucian Pârvulescu. "Get a grip: unusual disturbances drive crayfish to improvise." Behaviour 157, no. 2 (2020): 101–20. http://dx.doi.org/10.1163/1568539x-00003583.

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Abstract Animals that face unusual situations react instinctively in order to efficiently adapt to changes in the environment. Persistence leads training and learning the developed solution, which can then be applied to similar challenges in the future. We experimented on adult narrow-clawed crayfish extracted from both lentic and lotic habitats. We proved that the latter were more prone to grabbing objects during acute exposure to water currents. Chronic exposure of specimens from lentic habitat to water currents led to intense training in clumping activity, gripping quickly to adherent side

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28

Dutton, Richard P., Thomas E. Grissom, and Frank Herbstreit. "COVID-19 and Trauma Care: Improvise, Adapt, and Overcome!" Anesthesia & Analgesia 131, no. 2 (2020): 323–25. http://dx.doi.org/10.1213/ane.0000000000004944.

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29

Nelson, Bryn. "Medical emergencies in flight: Are doctors prepared to improvise?" Cancer Cytopathology 127, no. 12 (2019): 733–34. http://dx.doi.org/10.1002/cncy.22215.

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30

Zorzi, Eleonora, and Marina Santi. "improvising inquiry in the community: the teacher profile." childhood & philosophy 16, no. 36 (2020): 01–17. http://dx.doi.org/10.12957/childphilo.2020.46692.

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Improvising involves participants adopting attitudes and dispositions that make them welcoming towards what happens, even when it is unforeseen. How is the discourse on improvisation and a disposition to improvise in the community connected to the concept of inquiry? What type of reasoning can be developed? This paper aims to reflect on two different perspectives. On the one hand, we consider the feasibility of improvising inquiry in the community, promoting inquiry as an activity that can be developed extemporaneously when teacher and students form a community with an “improvising” habitus. O

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31

P. Biradar, Shivshanker, and T. S. Vishwanath. "Optimized Cluster Establishment and Cluster-Head Selection Approach in WSN." International journal of Computer Networks & Communications 13, no. 04 (2021): 53–70. http://dx.doi.org/10.5121/ijcnc.2021.13404.

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In recent years, limited resources of user products and energy-saving are recognized as the major challenges of Wireless Sensor Networks (WSNs). Clustering is a practical technique that can reduce all energy consumption and provide stability of workload that causes a larger difference in energy depletion among other nodes and cluster heads (CHs). In addition, clustering is the solution of energy-efficient for maximizing the network longevity and improvising energy efficiency. In this paper, a novel OCE-CHS (Optimized Cluster Establishment and Cluster-Head Selection) approach for sensor nodes i

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32

A.Nayak, Ankitha, Venugopala P S, Sarojadevi H., and Niranjan N. Chiplunkar Niranjan.N.Chiplunkar. "An Approach to Improvise Canny Edge Detection using Morphological Filters." International Journal of Computer Applications 116, no. 9 (2015): 38–42. http://dx.doi.org/10.5120/20368-2575.

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33

Sharma, Shruti, Gunchan Paul, Parshotam L. Gautam, Mandava Venkata Sravani, and M. Ravi Krishna. "Percutaneous Tracheostomy in COVID Era: Time to Adapt and Improvise." Indian Journal of Critical Care Medicine 25, no. 6 (2021): 642–47. http://dx.doi.org/10.5005/jp-journals-10071-23847.

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34

Huovinen, Erkki, and Avigail Manneberg. "Imitation, interaction and imagery: Learning to improvise drawing with music." Arts and Humanities in Higher Education 12, no. 2-3 (2013): 284–98. http://dx.doi.org/10.1177/1474022212473526.

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35

Pandey, Ashish Kumar, Raghvendra Kumar Singh, G. S. Jayesh, Neha Khare, and Shashi Kant Gupta. "Examining the Role of Enterprise Resource Planning (ERP) in Improving Business Operations in Companies." ECS Transactions 107, no. 1 (2022): 2681–96. http://dx.doi.org/10.1149/10701.2681ecst.

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The aim of this research is to identify how ERP system can effectively improvise business operations of business organizations. Besides, this research will also identify issues and challenges regarding implementation of ERP system and will provide recommendation (strategies) to deal with those issues. The objectives are as follows, by which the business operations improvised with respect to organization or company: To share knowledge about the ERP system and its concept including its usages, to identify impact of ERP system on different operations of business organizations, to analyze risks an

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36

Kannimuthu, Karthick, Kumaravel Sangeetha, Selvasundarasekar Sam Sankar, Arun Karmakar, Ragunath Madhu, and Subrata Kundu. "Investigation on nanostructured Cu-based electrocatalysts for improvising water splitting: a review." Inorganic Chemistry Frontiers 8, no. 1 (2021): 234–72. http://dx.doi.org/10.1039/d0qi01060j.

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In this review, various forms of Cu based nanostructures have been explored in terms of improvise and enhancing their activity and durability with vast investigation for OER, HER and TWS applications.

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37

Agwu, Christopher Okechikwu, and E. Chris Iderima. "A study of the implementation of the improvised single camera microteaching programme at the University of Port Harcourt." European Journal of Training and Development Studies 9, no. 2 (2022): 1–10. http://dx.doi.org/10.37745/ejtds.2014/vol9n2110.

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This study sought to develop a model of improvised microteaching technology that can be deployed for the success of teacher education programmes in moments of fiscal deficit and equipment down time. Using a single video camera to improvise a video technology based microteaching laboratory, the study analysed the impact of video feedback on trainee teachers self confidence, quality of voice level in delivery of instruction, overall improvement of teaching skills and the inherent challenges. The study revealed that the improvised single camera model of microteaching is less technology intensive,

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38

Ilari, Beatriz, Cara Fesjian, Bronte Ficek, and Assal Habibi. "Improvised song endings in a developmental perspective: A mixed-methods study." Psychology of Music 46, no. 4 (2017): 500–520. http://dx.doi.org/10.1177/0305735617715515.

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The aim of this mixed-methods study was to investigate the development of children’s improvised song endings over the course of two years, through researcher-led tasks. While quantitative data were used to examine the roles of age, biological sex, and music training on children’s improvised song endings and pitch-matching skills, qualitative data were gathered to shed light on the musical contents of improvisations, the strategies used by children when improvising, and children’s reactions to different improvisatory tasks. Although scores for both improvised song endings and pitch-matching ski

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39

Sharma, M. Vishnu. "How to improvise post graduate training in respiratory medicine in India." Indian Journal of Tuberculosis 68, no. 2 (2021): 303–6. http://dx.doi.org/10.1016/j.ijtb.2021.03.009.

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40

Kaur, Amrinder. "Role of Digital Finance to improvise Financial Inclusion and Sustainable Employment." Journal of Business Management and Information Systems 8, no. 2 (2021): 27–32. http://dx.doi.org/10.48001/jbmis.2021.0802004.

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This article discusses a few concerns related to digital finance, a topic that hasn't received much critical attention in the literature. Despite the fact that digital finance and financial inclusion have many benefits for the consumers and the policy makers for the economic growth of the nation, there are still concerns in implementation of digital financial services for the people, businesses, and governments. The article's discussion of digital finance challenges is pertinent to ongoing discussions and national-level initiatives aiming to increase financial inclusion through banking, use of

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41

Herzig, Monika. "Anyone Can Improvise: The ABCs of Arts Entrepreneurship—A Case Study." Artivate 9, no. 2 (2020): 63–75. http://dx.doi.org/10.1353/artv.2020.0007.

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42

Rahman, Mahfoozur, Shareefa Abdullah Al-Ghamdi, Khalid S. Alharbi, et al. "Ganoderic acid loaded nano-lipidic carriers improvise treatment of hepatocellular carcinoma." Drug Delivery 26, no. 1 (2019): 782–93. http://dx.doi.org/10.1080/10717544.2019.1606865.

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43

Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.

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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aest

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44

Uppal, Nakul, and Mohan Baliga. "Bone wax to improvise a screw-holder: a makeshift emergency tool." Tropical Doctor 46, no. 1 (2015): 67–68. http://dx.doi.org/10.1177/0049475515600367.

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45

Hultman, Magnus, Abena Animwaa Yeboah-Banin, and Nathaniel Boso. "Linking improvisational behavior to customer satisfaction: the relational dynamics." Journal of Business & Industrial Marketing 34, no. 6 (2019): 1183–93. http://dx.doi.org/10.1108/jbim-11-2017-0298.

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Purpose Contemporary sales scholarship suggests that salespersons pursuing customer satisfaction should improvise (think and act on their feet) to find solutions to customers’ emergent problems. A missing link in this literature, however, is the relational context within which improvisation takes place and becomes effective. This study aims to examine how the tone of the salesperson–customer relationship (whether cordial or coercive) drives and conditions salesperson improvisation and its implications for customer satisfaction. Design/methodology/approach The study tests the proposed model usi

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46

Hewson, Claire. "Tall tales." Early Years Educator 22, no. 9 (2021): S2—S3. http://dx.doi.org/10.12968/eyed.2021.22.9.s2.

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Making up a story orally can sometimes be more powerful than reading out loud from a book. Claire Hewson suggests ways to improvise on a classic fairy story and encourage children to create and tell their own exciting narratives.

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47

Mazierska, Ewa. "Improvisation in Electronic Music—The Case of Vienna Electronica." Open Cultural Studies 2, no. 1 (2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

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Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also

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48

Sand, Anne-Lene. "Jamming with Urban Rhythms." YOUNG 25, no. 3 (2017): 286–304. http://dx.doi.org/10.1177/1103308816671611.

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Based on an ethnographic multi-sited fieldwork, this article analyzes alternative rhythms of youth culture. The aim is to illustrate how young people improvise and organize rhythms in the city as a part of their place-making. I develop the concept of a spatial jam session, which provides a framework suitable for analyzing spatial dimension of contemporary youth culture. Developing Henri Lefebvre’s rhythm analysis through empirical material, a phenomenological understanding of place and jazz theory contributes an analytical framework that takes bodily, material, spatial and temporal dimensions

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49

Vanda, Regina. "Improvising Musicians: A Vision for the Future of Appreciative Inquiry Practice." AI Practitioner 24, no. 2 (2022): 53–56. http://dx.doi.org/10.12781/978-1-907549-51-9-14.

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The recent Global Appreciative Inquiry (AI) Jam takes “jam” from the musical term where musicians improvise in a group. Extending the musical analogy, I recount my AI Jam experience while unpacking what can we learn from improvising musicians for a vision of the future of AI practice?

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50

Aravindkumar, N., R. Rathish, S. Vignesh, et al. "Design and Analysis of Cooling Fan to Improvise the Mass Flow Rate." IOP Conference Series: Materials Science and Engineering 1145, no. 1 (2021): 012067. http://dx.doi.org/10.1088/1757-899x/1145/1/012067.

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