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Journal articles on the topic 'Jazz Improvisation (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study." Journal of Research in Music Education 56, no. 1 (2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.

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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listeni

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2

Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.

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The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging

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3

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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4

Grigson, Lionel. "Harmony + Improvisation = Jazz." British Journal of Music Education 2, no. 2 (1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.

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In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classi

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Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.

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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstl

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6

Rowan, Brent D. "Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit." LEARNing Landscapes 10, no. 2 (2017): 257–69. http://dx.doi.org/10.36510/learnland.v10i2.814.

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This paper examines the impact of creating music in an improvisational jazz style on an amateur adult musician’s mind, body, and spirit. Learning jazz improvisation skills can help build more empathetic human beings, when the focus of improvisation is on reacting to what you hear in a clear and concise manner. Life skills are developed by focusing on deep listening and communicating with other musicians. Enabling a person to talk to, listen to, and understand those around them builds community and understanding, and lessens the likelihood of conflict. This allows growth and progress to take pl

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7

Givan, Benjamin. "Gunther Schuller and the Challenge of Sonny Rollins:." Journal of the American Musicological Society 67, no. 1 (2014): 167–237. http://dx.doi.org/10.1525/jams.2014.67.1.167.

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Scholarly opinion has for many years been divided over Gunther Schuller's landmark 1958 article, “Sonny Rollins and the Challenge of Thematic Improvisation.” Jazz theorists view the article's close analysis of Rollins's 1956 jazz saxophone improvisation “Blue 7” as one of their discipline's founding statements; historians and ethnomusicologists meanwhile tend to fault it for neglecting cultural context. In either instance the specific details of Schuller's analysis have been largely accepted as being internally consistent. The present study proposes that the analysis of jazz improvisation ough

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8

Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results ind

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9

May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only o

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10

Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed,

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11

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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12

Jarvinen, Topi. "Tonal Hierarchies in Jazz Improvisation." Music Perception 12, no. 4 (1995): 415–37. http://dx.doi.org/10.2307/40285675.

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Statistical methods were used to investigate 18 bebop-styled jazz improvisations based on the so- called Rhythm Changes chord progression. The data were compared with results obtained by C. L. Krumhansl and her colleagues in empirical tests investigating the perceived stability of the tones in the chromatic scale in various contexts. Comparisons were also made with data on the statistical distribution of the 12 chromatic tones in actual European art music. It was found that the chorus- level hierarchies (measured over a whole chorus) are remarkably similar to the rating profiles obtained in em

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Friedman, J. Tyler. "On Narrativity and Narrative Flavor in Jazz Improvisation." Philosophy of Music 74, no. 4 (2018): 1399–424. http://dx.doi.org/10.17990/rpf/2018_74_4_1399.

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This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to

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14

Lumm, George. "Introducing Jazz Improvisation in General Music." General Music Today 8, no. 1 (1994): 13–17. http://dx.doi.org/10.1177/104837139400800104.

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15

Kennedy, Raymond F. "Jazz Style and Improvisation Codes." Yearbook for Traditional Music 19 (1987): 37. http://dx.doi.org/10.2307/767876.

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16

Myroshnychenko, Valerii. "TEACHING JAZZ IMPROVISATION TO A FUTURE VOCAL ARTIST: ITS ESSENCE AND SPECIFICS." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 189–93. http://dx.doi.org/10.36550/2415-7988-2021-1-192-189-193.

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The issues of teaching jazz improvisation to future vocal artists, especially theoretical and methodological aspects of their professional development in institutions of higher art education, have not been sufficiently studied. The matters of the essence and specifics of pop and jazz art, expressive means of improvisational mastery in vocal performance, the special nature of the relation between a composer and a performer, and the relationship with the audience become especially relevant. Vocal performance is one of the most important parts of jazz music. Both the first blues performers and ma

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17

Daikoku, Tatsuya. "Statistical Properties in Jazz Improvisation Underline Individuality of Musical Representation." NeuroSci 1, no. 1 (2020): 24–43. http://dx.doi.org/10.3390/neurosci1010004.

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Statistical learning is an innate function in the brain and considered to be essential for producing and comprehending structured information such as music. Within the framework of statistical learning the brain has an ability to calculate the transitional probabilities of sequences such as speech and music, and to predict a future state using learned statistics. This paper computationally examines whether and how statistical learning and knowledge partially contributes to musical representation in jazz improvisation. The results represent the time-course variations in a musician’s statistical

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18

Lissoni, Juliano, Alexandre Marino Costa, Gilberto De Oliveira Moritz, and Maurício Fernandes Pereira. "ESTRATÉGIA E JAZZ: UM NOVO PROCESSO DE FORMULAÇÃO ESTRATÉGICA." Revista de Negócios 12, no. 4 (2008): 03. http://dx.doi.org/10.7867/1980-4431.2007v12n4p03-17.

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What strategy really means and how strategies are created has been an emerging topic in the field of management. This article’s main purpose is not to create a new division, but get together the theme, in order to consider strategy as a sequence of moments, that starts from strategic intent and planning, but allows the derivative behavior. The main conclusion is that the metaphoric comparison between strategy making and jazz, which some basic element of jazz performance, as experimentation and improvisation, join the collective notes, in order to bring magic moments to the audience. Improvisat

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19

Coss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation." International Journal of Music Education 36, no. 4 (2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.

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The tensions present in learning jazz improvisation are well recognized given the contextual shift from more informal environments such as jam sessions and apprenticeships towards academic settings such as school bands and college jazz programs. Research suggests that the development of instruction in music education be informed by and modeled after expert practitioners, yet scant evidence exists on the most effective strategies, methods, and/or approaches for teaching jazz improvisation, in particular against the backdrop of this shift in educational paradigms. In response, the purpose of thi

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20

Jr., Guthrie P. Ramsey, Ingrid Monson, Burton W. Peretti, and Ronald M. Radano. "Saying Something: Jazz Improvisation and Interaction." American Music 17, no. 2 (1999): 205. http://dx.doi.org/10.2307/3052715.

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21

Waterman, Christopher A., and Ingrid Monson. "Saying Something: Jazz Improvisation and Interaction." Yearbook for Traditional Music 31 (1999): 161. http://dx.doi.org/10.2307/768001.

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22

Wilson, Dave. "A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT." Leonardo Music Journal 30 (December 2020): 79–83. http://dx.doi.org/10.1162/lmj_a_01095.

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The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dial

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23

Norgaard, Martin, Samantha N. Emerson, Kimberly Dawn, and James D. Fidlon. "Creating Under Pressure." Music Perception 33, no. 5 (2016): 561–70. http://dx.doi.org/10.1525/mp.2016.33.5.561.

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A growing body of research suggests that jazz musicians concatenate stored auditory and motor patterns during improvisation. We hypothesized that this mechanism allows musicians to focus attention more flexibly during improvisation; for example, on interaction with other ensemble members. We tested this idea by analyzing the frequency of repeated melodic patterns in improvisations by artist-level pianists forced to attend to a secondary unrelated counting task. Indeed, we found that compared to their own improvisations performed in a baseline control condition, participants used significantly

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24

Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.

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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point

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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.

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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities.

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26

Seddon, Frederick A. "Modes of communication during jazz improvisation." British Journal of Music Education 22, no. 1 (2005): 47–61. http://dx.doi.org/10.1017/s0265051704005984.

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This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on t

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27

Barry, Malcolm. "Improvisation: the State of the Art." British Journal of Music Education 2, no. 2 (1985): 171–75. http://dx.doi.org/10.1017/s0265051700004782.

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The writer examines the development of improvisation in Britain and especially jazz. The administrative and political implications of improvised music are explored and problems are identified to do with the freedom and excitement of such music and the dangers of education in improvisation.

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Revzis, Inessa M. "About the Development of Improvisational Skills in the Pupils of Children’s Music Schools." ICONI, no. 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.

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A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities;

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Merlino, Julio. "Coherence and Musical Meaning in Jazz Improvisation." Latin American Journal of Development 3, no. 4 (2021): 1707–15. http://dx.doi.org/10.46814/lajdv3n4-002.

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In the context of improvised music, and more specifically in jazz—a situation in which at least part of the musical “work” is created at the moment it is perceived—the performers find themselves in an ambivalent condition: like their listeners at the same time they perform the music they experience it for the first time. Improvisers experience the musical content they produce in the act of improvisation as an improvised part of a “work”—an update of it. The “work”, in this case, reveals itself at the moment of performance. In this work I discuss the understanding of musical coherence in order

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30

Deveaux, Scott. "Thinking in Jazz: The Infinite Art of Improvisation . Paul Berliner . Saying Something: Jazz Improvisation and Interaction . Ingrid Monson ." Journal of the American Musicological Society 51, no. 2 (1998): 392–406. http://dx.doi.org/10.1525/jams.1998.51.2.03a00070.

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31

Piekut, Benjamin. "Indeterminacy, Free Improvisation, and the Mixed Avant-Garde:." Journal of the American Musicological Society 67, no. 3 (2014): 769–824. http://dx.doi.org/10.1525/jams.2014.67.3.769.

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John Cage's brand of experimentalism underwent a transformation when it was imported into the UK in the 1960s. There, in contradiction to the American's well-known preferences, indeterminacy became twisted up with jazz-derived free improvisation, owing to discourse that stressed performer freedom and creativity while downplaying notions of non-intention and discipline. The authors of these commentaries created the discursive conditions for a mingling of avant-garde traditions, but the material conditions owed more to the efforts of Victor Schonfield, whose nonprofit organization, Music Now, ac

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32

Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.

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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipat

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33

Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –

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Elliott, David J. "Improvisation and Jazz: Implications for International Practice." International Journal of Music Education os-26, no. 1 (1995): 3–13. http://dx.doi.org/10.1177/025576149502600101.

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Peretti, Burton W., and Ingrid Monson. "Saying Something: Jazz Improvisation and Interaction." Notes 55, no. 1 (1998): 129. http://dx.doi.org/10.2307/900379.

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Witmer, Robert, and Paul Berliner. "Thinking in Jazz: The Infinite Art of Improvisation." Yearbook for Traditional Music 27 (1995): 165. http://dx.doi.org/10.2307/768120.

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Wreede, Katrina, and Karen Ritscher. "Practicing Efficiently—For Teachers." American String Teacher 44, no. 2 (1994): 49–51. http://dx.doi.org/10.1177/000313139404400221.

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Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “

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38

Dennen, James. "On Reception of Improvised Music." TDR/The Drama Review 53, no. 4 (2009): 137–49. http://dx.doi.org/10.1162/dram.2009.53.4.137.

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Does the concept of improvisation have any meaning when a piece is recorded and experienced at another time and place? Dennen revisits John Coltrane's “My Favorite Things” from the 1963 Newport Jazz Festival to consider a theory of the reception of improvised music.

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39

Wöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.

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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations e

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40

Deveaux, Scott. "Review: Thinking in Jazz: The Infinite Art of Improvisation by Paul Berliner; Saying Something: Jazz Improvisation and Interaction by Ingrid Monson." Journal of the American Musicological Society 51, no. 2 (1998): 392–406. http://dx.doi.org/10.2307/831983.

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41

Valliere, Dave, and Thomas Gegenhuber. "Entrepreneurial Remixing: Bricolage and Postmodern Resources." International Journal of Entrepreneurship and Innovation 15, no. 1 (2014): 5–15. http://dx.doi.org/10.5367/ijei.2014.0141.

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The innovation of organizations has been likened to the improvisation capacity of musicians playing jazz – a modernist form of music that emphasizes improvisation within the boundaries of a particular genre. But recent bricolage research suggests that this metaphor is incomplete when applied to entrepreneurs. The innovation of entrepreneurs lies not only in the improvisational combining of resources, but also in the eclectic selection of resources and the embedding of these innovative combinations into novel contexts. This makes entrepreneurs less like jazz musicians and more like hip-hop DJs

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42

Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (1985): 593–621. http://dx.doi.org/10.1525/jams.1985.38.3.03a00060.

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43

Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (1985): 593–621. http://dx.doi.org/10.2307/831480.

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de Bruin, Leon Rene. "Shaping interpersonal learning in the jazz improvisation lesson: Observing a dynamic systems approach." International Journal of Music Education 36, no. 2 (2017): 160–81. http://dx.doi.org/10.1177/0255761417712318.

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Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students’ learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social context, dynamic systems theory (DST) is used to explore how learning and development of musical improvisation skills are shaped by interpersonal behaviors and learning relationships. Through the dimensions of teacher “action” and “affiliation”, this

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Hargreaves, Wendy. "Profiling the jazz singer." British Journal of Music Education 30, no. 3 (2013): 383–96. http://dx.doi.org/10.1017/s0265051713000107.

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This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009–2010. Presented here are five statistically significant characteristics which differentiate vocalists’ experiences from other jazz musicians. These are: the singers’ preference for learning by imitation, their use of chords to find starting notes, their reliance on aural feedback, their greater sense of personal risk in improvisation, and their desire to be comfortable when perfo

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Komara, Edward M. "Interaction, Improvisation, and Interplay in Jazz (review)." Notes 64, no. 3 (2008): 518–21. http://dx.doi.org/10.1353/not.2008.0024.

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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.

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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by a

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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 (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),

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Wehr-Flowers, Erin. "Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward Learning Jazz Improvisation." Journal of Research in Music Education 54, no. 4 (2006): 337–49. http://dx.doi.org/10.1177/002242940605400406.

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The purpose of this study was to examine the gender differences in the social-psychological constructs of confidence, anxiety, and attitude as they relate to jazz improvisation participation. Three subscales of the Fennema-Sherman Mathematics Attitude Survey (1976) were modified for this task, and surveys (N = 332) were given to students of various ages participating in jazz programs. Returned surveys (N = 137, 41 % return rate, 83 men, 54 women) were analyzed using a MANOYA design with gender, school level, and instrument choice as the independent variables. A main effect was found for gender

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Székely, Michael David. "Thresholds: Jazz, Improvisation, Heterogeneity, and Politics in Postmodernity." Jazz Perspectives 2, no. 1 (2008): 29–50. http://dx.doi.org/10.1080/17494060801949075.

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