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Relevant bibliographies by topics / Jazz Music appreciation Pedagogy (Music) Improvisation (Music)

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Academic literature on the topic 'Jazz Music appreciation Pedagogy (Music) Improvisation (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Jazz Music appreciation Pedagogy (Music) Improvisation (Music)"

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Shevock, Daniel J. "The Experience of Confident Music Improvising." Research Studies in Music Education 40, no. 1 (2018): 102–16. http://dx.doi.org/10.1177/1321103x17751935.

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Improvisation plays a substantial role within the world’s musical cultures. The purpose of this research was to explore the essence of the experience of confident music improvising. In this phenomenological study, confidence was considered a psychological experience and the confidence of improvisers the phenomenon under examination. The researcher compiled experiences through stories describing the phenomenon by interviewing three confident improvisers: a bluegrass fiddler, a jazz bassist and a baroque violinist. Vignettes portrayed the lifeworlds of these instrumentalists. The stories told we

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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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Tomassetti, Benjamin. "Beginning Blues Improvisation Pedagogy for the Non-Jazz Specialist Music Educator." Music Educators Journal 89, no. 3 (2003): 17. http://dx.doi.org/10.2307/3399853.

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Louth, Joseph Paul. "An approach to improvisation pedagogy in post-secondary jazz programmes based on negative dialectics." Music Education Research 14, no. 1 (2012): 9–24. http://dx.doi.org/10.1080/14613808.2012.657163.

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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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Gigolayeva-Yurchenko, V. "The role and specificity of vocal-performing universalism (on the example of the activity at MC “The Kharkiv Regional Philharmonic Society”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 188–200. http://dx.doi.org/10.34064/khnum1-52.13.

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The relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to

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Thibeault, Matthew D. "Aebersold’s Mediated Play-A-Long Pedagogy and the Invention of the Beginning Jazz Improvisation Student." Journal of Research in Music Education, August 11, 2021, 002242942110318. http://dx.doi.org/10.1177/00224294211031894.

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In this historical study, I present the emergence and evolution of Jamey Aebersold’s Play-A-Long volumes and their key role in bringing jazz improvisation to formal music education. Drawing on oral histories and using a framework from sound studies, I present chord-scales and pattern playing as Deweyan conceptual technologies that assist beginners in developing a mature technique. I recount how Aebersold learned these as a student of David Baker at Indiana University, then applied the idea through teaching improvisation with the Dorian mode over Davis’s “So What.” In 1967 Aebersold published v

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Prouty, Kenneth E. "The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education." Critical Studies in Improvisation / Études critiques en improvisation 4, no. 1 (2008). http://dx.doi.org/10.21083/csieci.v4i1.346.

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Jacques Attali writes that music can serve to “invent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those based in free improvisation, structurally boundless and relatively non-hierarchical with respect to the relationships between performers. Many improvised genres, however, are not reflective of such a free approach. Do such improvised idioms similarly open up new possibilities for social relationships, or, by the very nature of their stylistic and practical boundaries of what is considered correct

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Thomas, Margaret E. "Conlon Nancarrow, “Hot” Jazz, and the Principle of Collective Improvisation." Music Theory Online 20, no. 1 (2014). http://dx.doi.org/10.30535/mto.20.1.7.

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This paper explores the possibility that Conlon Nancarrow’s connection to jazz runs more deeply and widely throughout the Studies for Player Piano than is typically recognized through the clear stylistic allusions to jazz found in a few of the Studies. I propose that an awareness of this deeper connection—as suggested by Nancarrow’s profound appreciation for early jazz, especially that of Louis Armstrong and Earl Hines—might prompt a new and rewarding mode of listening to the Studies, an improvisational mode. The principle of collective improvisation, important in both early jazz of the 1920s

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Stewart, Jesse. "“Comprovisation or Imposition?”: An Improvised Composition on a Life of Improvisation." Critical Studies in Improvisation / Études critiques en improvisation 9, no. 2 (2014). http://dx.doi.org/10.21083/csieci.v9i2.2904.

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In this essay, originally delivered as the opening keynote address at the 2012 edition of the Guelph Jazz Festival, improvising percussionist and improviser Jesse Stewart reflects on his own experiences as both a student and teacher of improvised music, using those experiences as a way of opening discussion about the ways in which improvisation pedagogy might intersect with the ideas of social justice and social responsibility.

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Dissertations / Theses on the topic "Jazz Music appreciation Pedagogy (Music) Improvisation (Music)"

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Re, Adrien Marcus. "The role of transcription in jazz improvisation : examining the aural-imitative approach in jazz pedagogy." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285406.

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Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedur

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Coss, Roger G. "A Phenomenological Inquiry into the Process of Teaching Jazz Improvisation." Scholarly Commons, 2016. https://scholarlycommons.pacific.edu/uop_etds/5.

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In seeking to further exploration on the relationship between jazz improvisation and creativity, this study describes the pedagogical beliefs and practices utilized by jazz educators for the teaching of improvisation as a creative process. Improvisation has been an integral feature of the jazz performance tradition for well over a century. However, the field of creativity studies has only recently come to recognize improvisation as a site for the creative process. While the jazz performance tradition has traditionally operated with a more collaborative and community-based pedagogical model bas

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Seybert, Austin. "The versatile trombonist: a curriculum based model for improving audiation skills for the 21st century trombonist." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7030.

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The original focus of this research paper was to ask the question, “Why are there so few versatile trombonists?” The research suggested that there were curriculum problems in higher education associated with the general lack of performance versatility amongst trombonists. In 2014 the Task Force for the Undergraduate Music Major (TFUMM) determined that the undergraduate curriculum was lacking improvisation and creativity. One of the core musical skills that is essential in improvising is audiation. After determining that audiation is one of the keys to performance versatility, I researched jazz

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Udikas, Axel. "Improvisation i duo : Om frihet och ramar i en jazzduo." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2890.

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Målet med detta arbete är att undersöka hur man kan spela jazz i duo med saxofon och piano. Undersökningen är baserad på en månad med repetitioner och en studioinspelning. Undersökningen är inspirerad av deltagande observation och introspektion. Ett av undersökningens resultat är att det i en jazzduo kan det vara fördelaktigt att i improvisationenistället för att använda ackordföljden som "karta" använda sig av kompositionens melodi. Olika sätt att bryta instrumentens enligt konventionen inom jazz givna roller i improvisationen diskuteras också.

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Boqvist, Conrad. "MPA i improvisation : En kvalitativ studie om Music Performance Anxiety kopplat till improvisation och improvisationsundervisning inom ensemblespel i jazz och populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3887.

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Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning me

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Molin, Robin. "Improvisation på kontrabas : Skillnader i improviserat musicerande efter en tids strukturerad övning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3359.

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Syftet med detta arbete är att undersöka vilka skillnader i mitt eget improviserade musicerande på kontrabas som går att urskilja efter en tids strukturerad övning. Ur detta syfte utvecklades naturligt följdfrågan vilken metod som skulle användas. Följaktligen utforskar denna uppsats även min metod för övning. För att undersöka detta gjordes en introspektiv studie på min egen övning med hjälp av loggbok och videodokumentation samt en analys av mitt eget spel där jag jämförde skillnader i mitt spel innan- och efter en övningsperiod. I studien har jag analyserat mitt spel på två musikstycken. En

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Kerwin, Ryan Jerome. "DEVELOPING A MELODIC VOCABULARY FOR JAZZ IMPROVISATION: NON-PLAYING PRACTICE ALTERNATIVES FOR TRUMPET STUDENTS." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556208417728155.

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Murdock, Matthew C. "Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.

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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisati

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Nilsson, Erik. "Att improvisera med glädje : En intervjustudie av tre jazzmusikers upplevelser av attlära sig improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3335.

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Improvisation är en form av musicerande där musik skapas i stunden utifrån uppsatta regler och ramar. Denna form av musicerande ses av flera som ett glädjefullt och intressant sätt att musicera då det tillåter spontant musikaliskt uttryck. Det finns dock de som har negativa erfarenheter av improvisation då det kan ses som abstrakt och skrämmande på grund av dess oförutsägbarhet. Flertalet forskare lyfter de positiva effekter som kunskaper inom improvisation kan ge. Denna studie undersöker därför hur ett glädjefullt förhållande till improvisationsmusicerande kan skapas och ställer då frågan: Vi

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Books on the topic "Jazz Music appreciation Pedagogy (Music) Improvisation (Music)"

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Rutgers University. Institute of Jazz Studies., ed. Charlie Parkerand thematic improvisation. Institute of Jazz Studies, Rutgers, The State University of New Jersey, 1996.

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Dunscomb, J. Richard. Jazz pedagogy: The jazz educator's handbook and resource guide. Warner Bros. Publishers, 2002.

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Willie, Hill, ed. Jazz pedagogy: The jazz educator's handbook and resource guide. Warner Bros. Publications, 2002.

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Martin, Henry. Charlie Parker and thematic improvisation. Institute of Jazz Studies, Rutgers--The State University of New Jersey, 1996.

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Borgo, David. Sync or swarm: Improvising music in a complex age. Continuum, 2004.

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Sync or swarm: Improvising music in a complex age. Continuum, 2005.

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The beginnings of Western music in Meiji era Japan. E. Mellen Press, 1994.

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Eppstein, Ury. The beginnings of western music in Meiji era Japan. Edwin Mellen, 1995.

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Free Jazz, Harmolodics and Ornette Coleman. Taylor & Francis Group, 2016.

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Free Jazz, Harmolodics and Ornette Coleman. Taylor & Francis Group, 2016.

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Book chapters on the topic "Jazz Music appreciation Pedagogy (Music) Improvisation (Music)"

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Johansen, Guro Gravem. "Creative music pedagogy." In Children’s Guided Participation in Jazz Improvisation. Routledge, 2020. http://dx.doi.org/10.4324/9780429451690-8.

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Şenay, Banu. "Improvisation and Journey." In Musical Ethics and Islam. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043024.003.0005.

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This chapter examines how ney musicians learn to improvise their own self-generated melodies. Because improvisation (taksim) affords players the greatest freedom to show their wares, it is considered to be the most sublime sonic statement of one’s artistry. Yet there is more in this skilled action than its revelation of the musical or artistic capabilities of the player. Alongside the player’s musical self, the social/moral persona, too, is understood to be expressed in improvisation. According to ney masters, the art of improvising connects to the art of living, sounding out an aural revelation of how one lives their life. This pedagogy presents us with a conception of the creative self that is different to that imagined in some other musical practices, particularly in jazz music.

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