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Books on the topic 'Music improvisation processes'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 2000.

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2

A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 1988.

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3

Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford University Press, USA, 2001.

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4

Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.

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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical impro

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5

Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition (Oxford Science Publications). Oxford University Press, USA, 1988.

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6

MacDonald, Raymond, and Graeme Wilson. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.007.

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Group musical improvisation is an important artistic, educational, and therapeutic process, and understanding the unique mental, individual, and social processes involved should be a key task for psychology. This chapter summarizes constraints in how some branches of psychology and ethnomusicology have conceptualized improvisation, and describes recent research embracing the breadth of what constitutes improvisation in music. Analyzing how highly diverse musicians discuss the fullest range of improvisational practices indicates important relationships between this creative interaction and wide

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7

Iyer, Vijay. Improvisation, Action Understanding, and Music Cognition with and without Bodies. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.014.

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A posited definition of improvisation encompasses such a broad range of human actions that it is helpful to consider both improvisation and rhythm in terms of embodied cognition and a notion of bodily empathy. This suggests a possible (though unstable and inconclusive) connection to action understanding, empathy, and mirror neurons, while acknowledging the latter’s disputed status. With or without mirror neurons, the concept of action understanding offers a reconsideration of improvisation and music cognition with or without bodies (i.e., live or recorded). The relationship of improvisation, r

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8

Berkowitz, Aaron L. The Cognitive Neuroscience of Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.004.

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Cognitive neuroscience research has begun to elucidate the neural substrates and cognitive processes that are involved in musical improvisation. In turn, the study of improvisation from the perspective of cognitive neuroscience has provided new insights about the brain and cognition. This chapter reviews brain imaging research studies of improvisation and explores the relevance of this work to musicians, musicologists, music educators, and cognitive neuroscientists with respect to the practice and pedagogy of improvisation, comparisons between music and language cognition, mirror neuron system

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9

Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.

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Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed crea

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10

MacDonald, Raymond A. R., and Graeme B. Wilson. The Art of Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.001.0001.

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With a focus on music, this book outlines what improvisation is and why it is an important creative and social activity. Drawing on the emerging psychological literature in this area, as well as evidence from authors’ research with musicians, this text outlines innovative ideas on what defines improvisation and the psychological, creative, and social processes involved. It explores the role of specialist skills, the importance of musical identities and the nature of understanding in improvised interaction and between improvisers. It discusses how we develop as improvisers and the role of impro

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11

Nooshin, Laudan. (Re-)imagining improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0019.

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What role does the concept of improvisation play in how we imagine ‘sameness’ and ‘difference’ in music? How do the verbal discourses around creative practice serve to mark musical boundaries? This chapter considers such questions in the context of Iranian music. Specifically, the chapter explores how the concept of improvisation has been understood, constructed and imagined in Iran, particularly in recent years as musicians have sought to position Iranian music within a global network of ‘improvised’ music through which the music accrues associations such as the idea of ‘improvisation as free

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12

Acosta, Rodolfo. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0013.

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This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music thr

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13

Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.

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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and e

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14

Sparti, Davide. On the Edge. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.020.

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While all human agency unfolds with a certain degree of improvisation, there are specific cultural practices in which improvisation plays an even more relevant role. Among these, jazz offers a privileged site for understanding how improvisation operates, offering the opportunity to find within it a frame of reference that might be related to other genres and modes of creation. This contribution, as Wittgenstein would say, has a “grammatical” design to it. It proposes to clarify the significance of the term “improvisation” by reflecting upon theconditionsthat make the practice possible. Rather

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15

Burt, Warren. Thoughts on an Algorithmic Practice. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.36.

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In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social contex

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16

Improvisation Rites: From John Cage's Song Books to The Scratch Orchestra's Nature Study Notes. Routine Art Co, 2018.

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17

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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18

Domínguez, Virginia R., and Jane C. Desmond, eds. Michael Titlestad on Solli and Condry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0028.

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This essay takes Solli’s and Condry’s essays as examples of possibilities worth emulating. Both essays, Titlestad argues, are refined instances of a refusal to adopt simple dialectical or bilateral understandings or analyses. Both describe the use of aspects of “American” culture (country and rap music respectively, as well as their social-symbolic architecture) in dynamic processes of triangulation that link their origins (in the United States), their destinations (Norway and Japan respectively), and third terms demarcated by the context and political priorities of performers and their public

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