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Journal articles on the topic 'Music improvisation processes'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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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2

Nakayama, Shinnosuke, Vrishin R. Soman, and Maurizio Porfiri. "Musical Collaboration in Rhythmic Improvisation." Entropy 22, no. 2 (2020): 233. http://dx.doi.org/10.3390/e22020233.

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Despite our intimate relationship with music in every-day life, we know little about how people create music. A particularly elusive area of study entails the spontaneous collaborative musical creation in the absence of rehearsals or scripts. Toward this aim, we designed an experiment in which pairs of players collaboratively created music in rhythmic improvisation. Rhythmic patterns and collaborative processes were investigated through symbolic-recurrence quantification and information theory, applied to the time series of the sound created by the players. Working with real data on collaborat

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Hermelin, B., N. O'Connor, S. Lee, and D. Treffert. "Intelligence and musical improvisation." Psychological Medicine 19, no. 2 (1989): 447–57. http://dx.doi.org/10.1017/s0033291700012484.

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SynopsisWe investigated whether somebody with a severe mental impairment could not only remember and reproduce music, but was also able to generate it. Musical improvisation requires the ability to recognize constraints and also demands inventiveness.Musical improvisations on a traditional, tonal and also on a whole tone scale composition were produced by a mentally handicapped and by a normal control musician. It was found that not only the control but also the handicapped subject could improvise appropriately within structural constraints, although with the tonal music the idiot-savant showe

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ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.

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This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of

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West, Julia Maurine. "Canonized repertoire as conduit to creativity." International Journal of Music Education 37, no. 3 (2019): 407–24. http://dx.doi.org/10.1177/0255761419842417.

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Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies

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Fenn, John. "The Building of Boutique Effects Pedals—The “Where” of Improvisation." Leonardo Music Journal 20 (December 2010): 67–72. http://dx.doi.org/10.1162/lmj_a_00014.

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Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as pa

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Kuldkepp, Kristin. "Free Improvisation as Experience: A pragmatic insight into improvisational gesture." Organised Sound 26, no. 1 (2021): 100–109. http://dx.doi.org/10.1017/s1355771821000091.

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This article presents the possible proximity between the philosophical tradition of pragmatism and the present-day practice of free improvisation, a musical activity that enjoys its ambiguous nature of not being clearly defined, that is, however, of value to examine as a practice in its own rights. It is used in educational and compositional contexts as a tool, as well as being an established independent performance practice, albeit for a relatively small body of audience. The discussion is led through three concepts that are utilised by pragmatists, but which resonate with the concerns of fre

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Skewes, Katrina. "A Review of Current Practice in Group Music Therapy Improvisations." British Journal of Music Therapy 16, no. 1 (2002): 46–55. http://dx.doi.org/10.1177/135945750201600107.

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The information contained in this article has been derived from a series of interviews conducted by the author with selected specialists in music therapy group improvisation. Although the music therapy literature barely addresses the musical material created in group improvisations, it is not true to say that there is no expertise in this area. Rather, it is likely that the difficulties in communicating these musical processes via the written word or transcribed score have discouraged researchers and clinicians from publishing current theories and understandings. For this reason, selected spec

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Varvarigou, Maria. "Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation." British Journal of Music Education 34, no. 3 (2017): 291–304. http://dx.doi.org/10.1017/s0265051717000109.

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This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be

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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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Després, Jean-Philippe, Pamela Burnard, Francis Dubé, and Sophie Stévance. "Expert Western Classical Music Improvisers’ Strategies." Journal of Research in Music Education 65, no. 2 (2017): 139–62. http://dx.doi.org/10.1177/0022429417710777.

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The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice’s aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers’ thinking processes are not yet thoroughly documented. As a result of this gap, our research addresses the following question: What strategies are implemented in the course of performance by Western classical music improvisers? To answer this question, semistruc

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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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Zavadska, Galina, and Asta Rauduvaite. "FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 817. http://dx.doi.org/10.17770/sie2020vol5.5015.

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A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the proc

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Ford, Charles C. "Free collective improvisation in higher education." British Journal of Music Education 12, no. 2 (1995): 103–12. http://dx.doi.org/10.1017/s0265051700002552.

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Free improvisation has two sources in the avant garde jazz, and experimental classical practices of the 1960s. Appeals to freedom, musical or otherwise, often result in more limitations. Sessions at Thames Valley University are managed by the students, and involve intense debate concerning how best to maximise collective musical freedom. Performances are triggered by individually prepared plans, which take the form of intervallic and rhythmic cells, registrally distinct roles, formal markers, dynamic processes, and even evocative poetics. Free collective improvisation in the classroom rewards

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de Bruin, Leon R. "Expert voices in learning improvisation: shaping regulation processes through experiential influence." Music Education Research 19, no. 4 (2016): 384–97. http://dx.doi.org/10.1080/14613808.2016.1204279.

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Aliel da Silva, Luzilei, Damián Keller, and Rogério Luiz Moraes Costa. "The Maxwell Demon: a proposal for modeling in ecological synthesis in art practices." Revista Música Hodie 18, no. 1 (2018): 103–16. http://dx.doi.org/10.5216/mh.v18i1.53575.

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   This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach en- tails the use of socio-ecological models that deal with complex adaptive systems [SIBERTIN et al., 2011]. We develo- ped a performance/experiment called The Maxwell Demon, as a case study. The observations done during the study indicate that imit

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Nooshin, Laudan. "The song of the nightingale: Processes of improvisation indastgāh Segāh(Iranian classical music)." British Journal of Ethnomusicology 7, no. 1 (1998): 69–116. http://dx.doi.org/10.1080/09681229808567273.

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18

Roden, David. "Promethean and Posthuman Freedom: Brassier on Improvisation and Time." Performance Philosophy 4, no. 2 (2019): 510–27. http://dx.doi.org/10.21476/pp.2019.42230.

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Ray Brassier's "Unfree Improvisation/Compulsive Freedom" (written for the 2013 collaboration with Basque noise artist Mattin at Glasgow's Tramway) is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour.Brassier does not provide a detailed account of how s

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Lisovska, Tetyana. "Interpretation and improvisation as a manifestation of creative performing thinking of future educators." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 77–83. http://dx.doi.org/10.24195/2617-6688-2019-3-11.

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The author highlights the aesthetic aspect of interpretation and improvisation as components of musical creativity; the factors of effective influence on the formation of students’ creative personality of higher education institutions have been revealed. Interpretation means description, specification, explanation, translation into a clearer language. Three basic types of interpretation such as scientific, every day and artistic have been substantiated in the article. The variability of interpretation is explained by the indispensable presence of improvisation in performer’s creative thinking.

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Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.

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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follo

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Meadows, Anthony, and Katherine Wimpenny. "Meaning-making processes in music therapy clinical improvisation: an arts-informed qualitative research synthesis." Nordic Journal of Music Therapy 25, sup1 (2016): 48. http://dx.doi.org/10.1080/08098131.2016.1179954.

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22

Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music." Music Therapy Perspectives 37, no. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.

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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making a

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Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.

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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specif

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de Bruin, Leon R. "The use of cognitive apprenticeship in the learning and teaching of improvisation: Teacher and student perspectives." Research Studies in Music Education 41, no. 3 (2019): 261–79. http://dx.doi.org/10.1177/1321103x18773110.

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Instrumental tuition has predominantly been conceptualized in terms of a master–apprentice model that facilitates the transmission of skills, knowledge and cultural intellect through teaching and learning. Research suggests the one-to-one tuition model needs to evolve and adapt to meet the demands of the 21st century musician. Within the jazz/improvisation lesson, the learning and teaching of improvisory ability is a complex activity where developing improvisers hone motor-specific skills, audiative ability, imaginative and creative impulses that connect and respond to strategic individual and

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de Bruin, Leon R. "Evolving Regulatory Processes Used by Students and Experts in the Acquiring of Improvisational Skills: A Qualitative Study." Journal of Research in Music Education 65, no. 4 (2017): 483–507. http://dx.doi.org/10.1177/0022429417744348.

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The way an improviser practices is a vital and significant aspect to a musician’s means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist and socioculturally explained and manifest in individual, jointly negotiated, and shared learning. This qualitative study explores the regulatory processes of four prominent Australian improvising musician-educators and four tertiary improvisation stude

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Young, Susan. "The Interpersonal Dimension: A Potential Source of Musical Creativity for Young Children?" Musicae Scientiae 7, no. 1_suppl (2003): 175–91. http://dx.doi.org/10.1177/10298649040070s109.

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This article describes one strand of a study of self-initiated improvisation among three- and four-year-olds attending nursery education in London which aimed to understand some fundamental, generative processes. Early in the study differences had been noted between children's music play with an adult in comparison with play alone. Rather than seek to abstract the sound of children's music from all contextual features, as other studies of children's creativity have done, this study took as one of its main foci, the nature of children's improvisation when playing with an adult partner. For the

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Sparti, Davide. "Acta Fluens – Generatives Handeln und Improvisation im Jazz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 49–60. http://dx.doi.org/10.28937/1000106237.

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Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Mer

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Usher, Julia, and Susan Greenfield. "Lighting up the Mind: Evolving a Model of Consciousness and its Application to Improvisation in Music Therapy." British Journal of Music Therapy 12, no. 1 (1998): 4–19. http://dx.doi.org/10.1177/135945759801200102.

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This paper explores Professor Susan Greenfield's theory of Neuronal Assembly Formation (Neuronal Gestalts) within a clinical music therapy context. Neuronal events in the brain are seen not only as shaping the physiological and communicative responses of the client, but also contributing to the character of the musical material itself, as it evolves in improvisation. This paper describes work with adults with profound learning difficulties living in a long-term residential unit. For these non-verbal clients, music becomes a primary language for translating and exchanging feelings and meanings.

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Robledo, Juan Pablo, Sarah Hawkins, Carlos Cornejo, Ian Cross, Daniel Party, and Esteban Hurtado. "Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence." PLOS ONE 16, no. 4 (2021): e0250166. http://dx.doi.org/10.1371/journal.pone.0250166.

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This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants–all non-musicians–conversed before and after either improvising music together (Musical Improvisation—MI—group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy—HB—group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants’ motion was recor

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Becker, Kelly Mancini. "1, 2, 3, Action: Using Performance in Higher Education to Develop Teachers and Learners." LEARNing Landscapes 13, no. 1 (2020): 41–51. http://dx.doi.org/10.36510/learnland.v13i1.1001.

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This paper explores the use of performance in a college-level course that teaches education majors how to use drama, dance, and music in their instruction. Students engage in drama activities such as improvisation and playbuilding in an effort to experience firsthand the benefits of such practices for their future classrooms. The essay shares some of the students’ experiences in this course. A common outcome shared is that the processes encouraged students to get out of their comfort zone, which they found beneficial to their learning. The essay examines how having students perform may help th

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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.

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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with musi

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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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Heal, Margaret. "The Use of Pre-Composed Songs with a Highly Defended Client." Journal of British Music Therapy 3, no. 1 (1989): 10–15. http://dx.doi.org/10.1177/135945758900300103.

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This paper illustrates how pre-composed songs which have special meaning for the client can serve as an intermediary phenomenon in psychoanalytically-informed individual music therapy, providing opportunities for the therapist and client to develop shared meanings within the therapeutic boundaries. The client is a teenage boy with moderate learning difficulties who has suffered abuse and deprivation. He is seen as highly defended, presenting an ‘opportunist’ secondary handicap (Sinason 1986) in response to earlier traumas, and as having a limited potential space (Winnicott 1971). Pre-composed

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Paynter, John. "Generative Processes in Music: The Psychology of Performance, Improvisation and Composition edited by John A. Sloboda. Oxford: The Clarendon Press, 1988. £35.00, 298 pp." British Journal of Music Education 5, no. 2 (1988): 204–6. http://dx.doi.org/10.1017/s0265051700006598.

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Redhead, Lauren. "'Entoptic landscape' and 'ijereja': Music as an iterative process." New Sound, no. 49 (2017): 97–113. http://dx.doi.org/10.5937/newso1749097r.

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Entoptic landscape and ijereja are both works that can be considered as expanding collections of materials. They explore the spaces between composition, notation, performance and improvisation by considering all of these activities as equally 'performative'. Each work comprises a set of materials that includes scores, fixed media audio and video, recorded live performances, studio-edited performances, and performance strategies. In the case of each piece, materials created in and by previous performances go on to inform future performances of the music. As such, there can be no 'definitive' pe

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Chan, Clare Suet Ching, and Zaharul Lailiddin Saidon. "Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 9–22. http://dx.doi.org/10.15294/harmonia.v21i1.28715.

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This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction,

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Neuman, Israel. "Generative Tools for Interactive Composition: Real-Time Musical Structures Based on Schaeffer's TARTYP and on Klumpenhouwer Networks." Computer Music Journal 38, no. 2 (2014): 63–77. http://dx.doi.org/10.1162/comj_a_00240.

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Interactive computer music is comparable to improvisation because it includes elements of real-time composition performed by the computer. This process of real-time composition often incorporates stochastic techniques that remap a predetermined fundamental structure to a surface of sound processing. The hierarchical structure is used to pose restrictions on the stochastic processes, but, in most cases, the hierarchical structure in itself is not created in real time. This article describes how existing musical analysis methods can be converted into generative compositional tools that allow com

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Custodero, Lori A. "Origins and expertise in the musical improvisations of adults and children: a phenomenological study of content and process." British Journal of Music Education 24, no. 1 (2007): 77–98. http://dx.doi.org/10.1017/s0265051706007236.

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This study explores the musical content and human processes of improvisations of children and adults using the phenomenological lenses of time, space and responsivity. Paired improvisational performances of two late-career adult composers and two 7-year-old children were analysed considering a lifespan-related perspective involving the origins of spontaneous musical creativity associated with childhood dispositions and the musical expertise gained from practice, training and experience. Findings suggest that origins and expertise are operating in improvisational experiences of children and adu

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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.

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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of

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Grodecka, Aneta. "Aposiopesis albo figury myśli w dobie ucieleśnionego umysłu." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 87–105. http://dx.doi.org/10.14746/pspsl.2018.34.4.

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The Author is interested in the states of becoming silent, discontinuing one’s utterance, which are associated with certain mechanisms of the functioning of the brain, as well as in the observation of such states in different artistic disciplines. Looking for an answer to the question how aposiopesis operates in words, sounds, and images, she analyzes pieces of music, poems (Zbigniew Herbert’s Pora), and examples of visual arts (Wojciech Pakmur’s paintings of the tango). In her reconstruction of the research field, the Author refers to rhetoric ( Jerzy Ziomek, Seweryna Wysłouch), the philosoph

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Kharitonova, Natalya S. "Synthesis of Arts in Vasily Kandinsky's Creative Work." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 96–104. http://dx.doi.org/10.17816/vgik9496-104.

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The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky devel

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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on it

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Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.

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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational

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Augustyniak, Sylvana. "The impact of formal and informal learning on students’ improvisational processes." International Journal of Music Education 32, no. 2 (2013): 147–58. http://dx.doi.org/10.1177/0255761413502440.

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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.

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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to gro

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Stock, Jonathan. "Three "Erhu" Pieces by Abing: An Analysis of Improvisational Processes in Chinese Traditional Instrumental Music." Asian Music 25, no. 1/2 (1993): 145. http://dx.doi.org/10.2307/834194.

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Tafuri, Johannella, Gabriella Baldi, and Roberto Caterina. "Beginnings and Endings in the Musical Improvisations of Children Aged 7 to 10 Years." Musicae Scientiae 7, no. 1_suppl (2003): 157–74. http://dx.doi.org/10.1177/10298649040070s108.

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Many factors influence the activation and maturation of the compositional process in children. Although there are numerous studies on children's processes, production and behaviour, little has been done concerning the influence of the didactic strategies used by the teacher, which may actually encourage or suppress such processes. Children are generally asked to create a composition that has a beginning, a middle and end, but we wondered whether it was really necessary to request this structure or if children of a certain age already adopt it spontaneously, so teachers can use such skills as b

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BENNETT, JAMES. "Béla Bartók's Evolutionary Model of Folk Music." Twentieth-Century Music 13, no. 2 (2016): 291–320. http://dx.doi.org/10.1017/s1478572216000062.

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AbstractIn his ethnomusicological writings and lectures, Béla Bartók describes folk music as ‘a natural product, just like the various forms of animal and vegetable life’ and elaborates this view, going on to describe a collection of developmental processes modelled explicitly on biological evolution. In this article, I characterize Bartók's evolutionary model by laying bare the taxonomies and genealogies inherent in his classificatory system. Then, through an analysis of the fifth of hisEight Improvisations on Hungarian Folk Songs(1920), I suggest the outlines of a method for interpreting and

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Schmid, Wolfgang. "A penguin on the moon: Self-organizational processes in improvisational music therapy in neurological rehabilitation." Nordic Journal of Music Therapy 23, no. 2 (2013): 152–72. http://dx.doi.org/10.1080/08098131.2013.783096.

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Dance, L. Janelle, Rochelle Gutiérrez, and Mary Hermes. "More Like Jazz Than Classical: Reciprocal Interactions Among Educational Researchers and Respondents." Harvard Educational Review 80, no. 3 (2010): 327–52. http://dx.doi.org/10.17763/haer.80.3.647281lu61582r82.

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In this article, educational scholars L. Janelle Dance, Rochelle Gutiérrez, and Mary Hermes share insights from their lived experience as qualitative researchers trying to work in collaboration with diverse populations. They refer to these insights as "improvisations on conventional qualitative methods," reminding readers that their methodological approaches have been more collaborative than unilateral, more fluid than unyielding, more like the reciprocal creativity of jazz than the directed orchestration of classical music. Calling on us to expand our previous conceptions of cultural intuitio

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