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Journal articles on the topic 'Performance practice (Music) Improvisation (Music) Composition (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Nyström, Erik. "Strange Post-human Attractors: Algorithmic improvisation as acousmatic poiēsis." Organised Sound 26, no. 1 (2021): 31–41. http://dx.doi.org/10.1017/s1355771821000030.

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Contemporary thought is moving away from the notion that the human is a clear-cut concept. In particular, non-anthropocentric views are proliferating within the interdisciplinary area of critical post-humanism, with emphasis on non-dualistic views on relations between human and technology. This article shows how such a view can inform electroacoustic and computer music practice, and sees improvisation linked with composition as a fruitful avenue in this. Following a philosophical preparation and a discussion of relevant music discourse, two computer music works created by the author are discus

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Hirst, David. "An echo from closed doors." Organised Sound 6, no. 1 (2001): 39–45. http://dx.doi.org/10.1017/s1355771801001066.

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On 31 December 1999 the La Trobe University Music Department closed its doors. From the outset, La Trobe Music saw itself as providing an alternative tertiary music education to the predominant paradigms of the time by fostering creativity through composition, technology, improvisation and other types of alternative performance practices. The philosophy of teaching electroacoustic music at La Trobe was to encourage students to find their own compositional voice rather than preach a particular style of electroacoustic music. The Department's research areas were in improvisation and technology,

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McMillan, Ros. "‘To say something that was me’: developing a personal voice through improvisation." British Journal of Music Education 16, no. 3 (1999): 263–73. http://dx.doi.org/10.1017/s0265051799000352.

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The study and practice of improvisation in music departments of Australian colleges and universities tends to be dominated by jazz and other African-American styles. However, the School of Music of the Victorian College of the Arts in Melbourne has developed a course of study with a different focus. While rooted in the fundamentals of jazz performance, the philosophy of the course is that students at the end of the twentieth century should endeavour to develop their own musical ‘voice’. An important means of assisting this development is the encouragement for students to compose their own musi

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Michalakos, Christos. "Designing Musical Games for Electroacoustic Improvisation." Organised Sound 26, no. 1 (2021): 78–88. http://dx.doi.org/10.1017/s1355771821000078.

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This paper describes the background and motivations behind the author’s electroacoustic game-pieces Pathfinder (2016) and ICARUS (2019), designed specifically for his performance practice with an augmented drum kit. The use of game structures in music is outlined, while musical expression in the context of commercial musical games using conventional game controllers is discussed. Notions such as agility, agency and authorship in music composition and improvisation are in parallel with game design and play, where players are asked to develop skills through affordances within a digital game-spac

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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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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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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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Casal, David Plans. "Crowdsourcing the Corpus: Using Collective Intelligence as a Method for Composition." Leonardo Music Journal 21 (December 2011): 25–28. http://dx.doi.org/10.1162/lmj_a_00057.

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The author describes the practical application of crowdsourcing human intelligence as a form of collaborative music-making. Spectral decomposition of an original recording is used to derive components from original audio, and these are then offered as on-line tasks in which contributors are asked to record their own interpretations of each component. Components are then gathered in order to re-synthesize the original corpus, which is used to build an improvisation system. The author uses Bernard Stiegler's ecology of attention paradigm to situate crowdsourcing as an emerging form of public par

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Drummond, Jon. "Understanding Interactive Systems." Organised Sound 14, no. 2 (2009): 124–33. http://dx.doi.org/10.1017/s1355771809000235.

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This article examines differing approaches to the definition, classification and modelling of interactive music systems, drawing together both historical and contemporary practice. Concepts of shared control, collaboration and conversation metaphors, mapping, gestural control, system responsiveness and separation of interface from sound generator are discussed. The article explores the potential of interactive systems to facilitate the creation of dynamic compositional sonic architectures through performance and improvisation.

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Moseley, Roger. "Digital Analogies:." Journal of the American Musicological Society 68, no. 1 (2015): 151–228. http://dx.doi.org/10.1525/jams.2015.68.1.151.

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Relating evidence from the mythological to the contemporary in both historical and media-archaeological registers, this article explores how techniques of sonic generation and representation shuttled between what might be defined as digital and analog domains long before the terms acquired their present meanings—and became locked in a binary opposition—over the latter half of the twentieth century. It proposes that such techniques be conceptualized via the “digital analogy,” a critical strategy that accounts for the nesting of techno-musical configurations. While the scope of digital analogies

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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.

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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). Th

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Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.

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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock musi

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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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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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Zhang, Guangjian. "Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)." Aspects of Historical Musicology 21, no. 21 (2020): 230–47. http://dx.doi.org/10.34064/khnum2-21.15.

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Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instrume

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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of

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Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.

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Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One

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Dudas, Richard. "“Comprovisation”: The Various Facets of Composed Improvisation within Interactive Performance Systems." Leonardo Music Journal 20 (December 2010): 29–31. http://dx.doi.org/10.1162/lmj_a_00009.

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This article discusses the balance between composition and improvisation with respect to interactive performance using electronic and computer-based music systems. The author uses his own experience in this domain in the roles of both collaborator and composer as a point of reference to look at general trends in “composed improvisation” within the electronic and computer music community. Specifically, the intention is to uncover the limits and limitations of improvisation and its relationship to both composition and “composed instruments” within the world of interactive electronic musical perf

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Chandler, Michael D. "Improvisation in Elementary General Music: A Review of the Literature." Update: Applications of Research in Music Education 37, no. 1 (2018): 42–48. http://dx.doi.org/10.1177/8755123318763002.

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Improvisation is an area of interest to both music education researchers and music educators alike. The purpose of this literature review was to examine extant studies related to improvisation at the elementary level. Selected research included the nature of improvisation, the amount of instructional time and activity type used, the development of improvisation skills with age, and the effect of improvisation on other skill areas. Findings indicated that children chose their own musical and social roles when there was minimal teacher intervention. Most teachers agreed that improvisation was im

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Keller, Peter E., Andreas Weber, and Annerose Engel. "Practice Makes Too Perfect: Fluctuations in Loudness Indicate Spontaneity in Musical Improvisation." Music Perception 29, no. 1 (2011): 109–14. http://dx.doi.org/10.1525/mp.2011.29.1.109.

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while spontaneity is often a desirable quality in music performance, the objective musical features that characterize genuinely spontaneous performances are unclear. We addressed this issue by recording pianists’ keystroke intensity and timing as they produced improvised jazz solos and rehearsed imitations of these solos. Results indicated that the entropy of keystroke intensity was reliably highest for improvisations. Corresponding effects for timing were less consistent. The effects observed for intensity may reflect irregularities in force control associated with relatively wide variations

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Moir, Zack, and Haftor Medbøe. "Reframing popular music composition as performance-centred practice." Journal of Music, Technology and Education 8, no. 2 (2015): 147–61. http://dx.doi.org/10.1386/jmte.8.2.147_1.

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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.

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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and

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Canonne, Clément. "Listening to Improvisation." Empirical Musicology Review 13, no. 1-2 (2019): 2. http://dx.doi.org/10.18061/emr.v13i1-2.6118.

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Is there something peculiar in our appreciation of improvised music? How does knowing that the music we are listening to is improvised affect our experience? As a first step in answering these questions, I have conducted an experiment in which an audio recording of the very same piece of music – a saxophone/clarinet freely improvised duet – was presented to 16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition). Listeners were encouraged both to reflect on their listening experience and to describ

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Hayes, Lauren. "Sound, Electronics, and Music: A Radical and Hopeful Experiment in Early Music Education." Computer Music Journal 41, no. 3 (2017): 36–49. http://dx.doi.org/10.1162/comj_a_00428.

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Discussions of pedagogical approaches to computer music are often rooted within the realm of higher education alone. This article describes Sound, Electronics, and Music, a large-scale project in which tutelage was provided on various topics related to sound and music technology to around 900 schoolchildren in Scotland in 2014 and 2015. Sixteen schools were involved, including two schools for additional support needs. The project engaged several expert musicians and researchers to deliver the different areas of the course. Topics included collective electroacoustic composition, hardware hackin

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Yoo, Hyesoo, and Sangmi Kang. "Teaching Korean Rhythms in Music Class Through Improvisation, Composition, and Student Performance." General Music Today 28, no. 1 (2014): 16–22. http://dx.doi.org/10.1177/1048371314527759.

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Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.

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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers,

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Wegman, Rob C. "From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500." Journal of the American Musicological Society 49, no. 3 (1996): 409–79. http://dx.doi.org/10.2307/831769.

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The second half of the fifteenth century saw profound changes in the understanding and valuation of the concepts of "composer" and "composition." This article explores those changes, especially as they evolved in urban musical culture in the Low Countries in 1450-1500. Attention is given to oral traditions of popular and professional polyphony, the status of writing in musical instruction and practice, the emergence of a perceived opposition between "composition" and "improvisation," the technical and conceptual ramifications of that perception, the relative social and professional status impl

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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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Hajdu, Georg. "Disposable Music." Computer Music Journal 40, no. 1 (2016): 25–34. http://dx.doi.org/10.1162/comj_a_00342.

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This article introduces the concept of real-time composition and composition as a “dispositif” in the sense of Foucault and Deleuze, defining it as a heterogeneous ensemble of pieces that together form an apparatus. The introduction situates the dispositif in the context of cultural developments, most notably its slow but steady shift away from textualization in digital media. As musicians are adapting to ensuing cultural and, above all, economic changes, new musical forms emerge that rely to a lesser degree on fully notated scores, such as “comprovisation” or laptop performance. Antitheticall

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Barrett, Richard. "NOTATION AS LIBERATION." Tempo 68, no. 268 (2014): 61–72. http://dx.doi.org/10.1017/s004029821300168x.

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AbstractThis paper, originally the keynote address at a conference on notation in contemporary music held at Goldsmiths, University of London, in October 2013, examines the relationship between notation and improvisation in today's music. Starting from the position that improvisation is a method of composition, and that the two are in no way opposites, the author reflects on his dual practice as composer of often complexly notated scores and an improvising musician. The title subverts the familiar claim that it is improvisation that liberates the musician from the supposed tyranny of fixed not

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STEINBECK, PAUL. "“Area by Area the Machine Unfolds”: The Improvisational Performance Practice of the Art Ensemble of Chicago." Journal of the Society for American Music 2, no. 3 (2008): 397–427. http://dx.doi.org/10.1017/s1752196308080127.

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AbstractSince their emergence from the Association for the Advancement of Creative Musicians (AACM) in the 1960s, the members of the Art Ensemble of Chicago have created a distinctive multi-disciplinary performance practice centered on collective improvisation. In this article, I conceptualize Art Ensemble improvisations as networks of group interactions, and I analyze an excerpt from a 1972 Art Ensemble concert recording using a phenomenological perspective informed by my conversations with the group about the performance and by my own experience as an improvised-music practitioner. The analy

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Schubert, Peter. "Contrapunto Fugato: A First Step Toward Composing in the Mind." Music Theory Spectrum 42, no. 2 (2020): 260–79. http://dx.doi.org/10.1093/mts/mtaa009.

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Abstract Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and

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Lee, Sang Won, and Jason Freeman. "Real-Time Music Notation in Mixed Laptop–Acoustic Ensembles." Computer Music Journal 37, no. 4 (2013): 24–36. http://dx.doi.org/10.1162/comj_a_00202.

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SGLC is a recent set of extensions to LOLC, a text-based environment for collaborative improvisation for laptop ensembles. SGLC integrates acoustic musicians into the LOLC environment: Laptop musicians author short commands to generate real-time notation, and acoustic musicians sight-read it in performance. We describe the background and motivations of the project, outline the design of LOLC and SGLC, explain the use of SGLC in a musical composition by one of the authors, and evaluate the impact of real-time notation on a concert performance with the environment.

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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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Mcauliffe, Sam. "Studying Sonorous Objects to Develop Frameworks for Improvisation." Organised Sound 22, no. 3 (2017): 369–77. http://dx.doi.org/10.1017/s135577181700053x.

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French musique concrète artist Pierre Schaeffer pioneered new ways of listening to and studying sound. His study and manipulation of recorded sounds to create music changed the way contemporary musicians, from a multitude of disciplines, approach making music. Additionally, Schaeffer’s treatise on acousmatic listening to sonorous objects has deeply influenced contemporary sound studies. In this article, I elucidate how musique concrète has informed my practice-led research project,Looking Awry– from which I will discuss two case studies. I outline how acousmatic listening to field recordings f

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BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.

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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished

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GIVAN, BENJAMIN. "Apart Playing: McCoy Tyner and “Bessie's Blues”." Journal of the Society for American Music 1, no. 2 (2007): 257–80. http://dx.doi.org/10.1017/s1752196307070095.

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Jazz pianist McCoy Tyner's improvisation on the theme “Bessie's Blues,” recorded with the John Coltrane Quartet in 1964, exemplifies the traditional Afrodiasporic performance practice of “apart playing.” A formulation of the art historian Robert Farris Thompson, apart playing occurs whenever individual performers enact different, complementary roles in an ensemble setting. For interpretative purposes, the concept helps to provide a cultural context for certain pitch-based formal devices, such as substitute harmonies and playing “outside” an underlying chord or scale, which Tyner uses in the co

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Legg, Andrew, and Carolyn Philpott. "An analysis of performance practices in African American gospel music: rhythm, lyric treatment and structures in improvisation and accompaniment." Popular Music 34, no. 2 (2015): 197–225. http://dx.doi.org/10.1017/s0261143015000264.

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AbstractAfrican American gospel music is a unique and distinctive idiom that has had a pervasive influence upon the development of contemporary popular music. While there are now many sources available on African American gospel music, the focus of the vast majority of these studies is on the sociological, historical and stylistic aspects of the genre, rather than on identifying and codifying specific musical characteristics and performance practices. This paper extends the discussion of gospel singing techniques in Andrew Legg's 2010 article ‘A taxonomy of musical gesture in African American

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Randles, Clint, and Leonard Tan. "Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore." British Journal of Music Education 36, no. 02 (2019): 197–210. http://dx.doi.org/10.1017/s0265051719000172.

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AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their

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Parsonage, Catherine, Petter Frost Fadnes, and James Taylor. "Integrating theory and practice in conservatoires: formulating holistic models for teaching and learning improvisation." British Journal of Music Education 24, no. 3 (2007): 295–312. http://dx.doi.org/10.1017/s0265051707007590.

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Academic study has become a more significant part of a conservatoire education in recent times, but it has not always informed performance as effectively as it might. There is a need for further development of an academic curriculum that is specifically relevant to performers, in which the links between theory and practice are made explicit rather than expecting students to construct these for themselves. This article reports on research into the integration of theory and practice at Leeds College of Music, UK, using jazz improvisation as a case study. Pilot teaching sessions within two module

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Hajdu, Georg. "Quintet.net: An Environment for Composing and Performing Music on the Internet." Leonardo 38, no. 1 (2005): 23–30. http://dx.doi.org/10.1162/leon.2005.38.1.23.

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Quintet.net is a real-time interactive environment for intermedial composition and performance on local networks as well as the Internet. Since its premiere in 2000, the environment has been used in several large projects connecting players in Europe and the U.S.A., a Munich biennale opera project among them. Quintet.net implements, in a virtual environment, the metaphor of five performers under the control of a conductor, thus dealing with important aspects of symbolic, aural and visual communication among the participants and the network audience. A composition development kit has been added

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Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.

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Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovela

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Williams, Kathryn. "PIXERCISE: PICCOLO PERFORMANCE PRACTICE, EXERCISE AND FEMALE BODY IMAGE." Tempo 74, no. 292 (2020): 74–79. http://dx.doi.org/10.1017/s0040298219001207.

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AbstractPIXERCISE (2017–) is an open-ended collaborative work written by Kathryn Williams and Annie Hui-Hsin Hsieh. The piece involves an ongoing process of physical training, and in performance combines specially tailored physical exercises with piccolo performance. This article describes the unusual composition, preparation, and performance of this work and is concerned with exploring the shifting collaborative relationship. It also explores some of the aesthetic and social ideas that motivated the piece and have emerged through critical reflection and have been further incorporated, includi

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Sile, Maruta, and Inta Ratniece. "Improvement of Music Teachers’ Competence via Productive Activity." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 425. http://dx.doi.org/10.17770/sie2015vol2.422.

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<p><em>Professional pedagogical performance is an important condition for a successful implementation of national education policy. Creative and understanding the evolving process of today – a competent music teacher is competitive both in the domestic employment market and abroad. Music as art is creative in its essence. However, in practice it is often found that reproductive activity often dominates the preparation of music teachers. Being the most creative of arts – music in the course of acquiring the art of playing music loses its inherent creativity. Primarily, the preparati

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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.

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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended wa

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BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.

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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures

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Tan, Patsy, and Ng Wang Feng. "The Oxford Handbook of Music Psychology by Hallam, S., Cross, I., & Thaut, M." Music and Medicine 9, no. 1 (2017): 64. http://dx.doi.org/10.47513/mmd.v9i1.559.

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The Oxford Handbook of Music Psychology provides a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from experts in the field, the coverage offered has both range and depth. The fifty-two articles are divided into eleven sections covering both experimental and theoretical perspectives. Ten sections each present articles that focus on specific areas of music psychology: the origins and functions of music; music perception; responses to music; music and the brain; musical development; learning musical skills; musical performance; composi

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Melbye, Adam Pultz. "Resistance, Mastery, Agency: Improvising with the feedback-actuated augmented bass." Organised Sound 26, no. 1 (2021): 19–30. http://dx.doi.org/10.1017/s1355771821000029.

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In this article I describe the development of a performance practice with a new electroacoustic instrument – the FAAB (feedback-actuated augmented bass). Drawing on a background in improvisation, I discuss how the feedback-induced behaviour of the instrument sets it apart from an acoustic bass and how the implementation of operationally closed digital signal processing algorithms facilitates greater systemic autonomy. In identifying resistance as a key feature of improvisation, I propose the term ‘diachronic mastery’ as a way of addressing the equilibration of sensorimotor schemes in the conte

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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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