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Articoli di riviste sul tema "Improvisation (Music)"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.

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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were

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Reardon-Smith, Hannah, Louise Denson, and Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION." Tempo 74, no. 292 (March 6, 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.

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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our imp

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

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

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4

White, Edward. "Exploring Confidence and Experience in Improvisation." International Journal of Health and Music 1, no. 1 (July 15, 2024): 3–22. http://dx.doi.org/10.61629/ijhm.v1i1.40.

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This study examines the role of improvisation in music education and the challenges of integrating it into collegiate-level courses. Despite its significance in music learning, improvisation is often overlooked in school curricula. The research reveals a gap between the importance of improvisation and its limited presence in music education beyond jazz. The case study focuses on undergraduate music education students and addresses key research questions related to professors' perspectives, challenges in providing improvisational experiences, current implementation, and possibilities for furthe

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Kim, Kangwon. "An exploration of critical issues relating to improvisation in Western music education." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 6 (March 31, 2024): 409–24. http://dx.doi.org/10.22251/jlcci.2024.24.6.409.

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Objectives The purpose of this study was to explore and discover critical issues of Western music education regarding improvisation, and to analyze and discuss them. Methods As a systematic literature study, strategies such as database searches, backward snowballing, and forward snowballing were used to collect data. English words, improvisation, music, education were used as key words for data searches to identify relevant English literature. In order to discover potential critical issues gathered literature were thoroughly reviewed and re-analyzed by realms. Results Recurring imp

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6

Cobussen, Marcel. "Improvising (with) sounds: A sonic postcard from Belgrade." New Sound, no. 50-2 (2017): 269–84. http://dx.doi.org/10.5937/newso1750269c.

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This impressionistic essay is indeed an attempt to record the thoughts I developed on improvisation while visiting different places in Belgrade, meeting various musicians who are living in this city, and reflecting on a few texts dealing with musical improvisation. In seven short meditations, seven "stops", I criticize the anthropocentric discourse around improvisation, formulate ideas about improvisation that try to overcome dichotomous constructions, and trace improvisational structures in sound art, rock music, contemporary composed music, and everyday listening.

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Lee, Colin Andrew, and Amy Clements-Cortés. "Applications of Clinical Improvisation and Aesthetic Music Therapy in Medical Settings: An Analysis of Debussy’s ‘L’isle joyeuse’." Music and Medicine 6, no. 2 (October 25, 2014): 61. http://dx.doi.org/10.47513/mmd.v6i2.181.

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The application and use of clinical improvisation is an important technique in medical music therapy. Through the analysis of Debussy’s ‘L’isle joyeuse’ this study aims to provide the beginnings of a new way of working within a music-centered philosophy for music therapists in medical settings. The piece is divided into eight sub-sections, offering practical suggestions for how the music can be adapted and used for specific clinical outcomes. Each analysis may be used separately to create smaller improvisations or collectively in varying combinations, to create larger improvisations. Throughou

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8

Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani, and Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.

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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi

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9

Gillon, Les. "Varieties of Freedom in Music Improvisation." Open Cultural Studies 2, no. 1 (December 1, 2018): 781–89. http://dx.doi.org/10.1515/culture-2018-0070.

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Abstract This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising

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10

Delia-Pietra, Christopher J., and Patricia Shehan Campbell. "An Ethnography of Improvisation Training in a Music Methods Course." Journal of Research in Music Education 43, no. 2 (July 1995): 112–26. http://dx.doi.org/10.2307/3345673.

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In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on

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Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.

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

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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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Kim, Sujin, and Yoonhan Jeon. "A Study on Improvisation Techniques Appearing in Keith Jarrett 《Koln Concert January 24, 1975, Pt. A》." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 1079–106. http://dx.doi.org/10.33645/cnc.2022.6.44.6.1079.

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This paper focuses on the characteristics of improvisation among the various musical expression techniques of Keith Jarrett. The field of improvisation, which originated from the European classical tradition, is one of the ever-developing techniques in music history. Used as a tool to show the performer’s technical excellence by the musical styles of many eras, improvisation has been independent of musical structure since the 1960s, and has everything from creation to rhythm to form. It was a new concept that the performer’s will was reflected as it was. This is the 1960s free jazz and 1970s f

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Lipsky, M., and J. Kantor. "Identification of Challenges and Strengths of Children with Special Educational Needs in Their Musical Improvisations." Клиническая и специальная психология 8, no. 1 (2019): 118–36. http://dx.doi.org/10.17759/cpse.2019080108.

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The study of therapeutic uses of musical improvisation can help to improve music therapy assessment which is the aim of this paper. This paper identifies 1. the individual challenges and strengths that may help to deal with problems reflected in musical improvisations of children with special needs and, 2. ways of their identification while listening to the children’s musical expression. Data collected from 180 verbal descriptions of musical improvisations of four children with special needs and then analysed using grounded theory as well as content analysis of documents. It was found that mus

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Sutton, Julie. "The invisible handshake: A context for improvisation in music therapy." British Journal of Music Therapy 32, no. 2 (October 9, 2018): 86–95. http://dx.doi.org/10.1177/1359457518799076.

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Improvisation is a fundamental aspect of music therapy practice but until recently was much neglected by researchers. This article outlines hitherto unpublished findings from doctorate research completed in 2001, at a time when few investigations were being undertaken. The findings stand the test of time and are detailed in the article as well as updated within the current literature context. The strength of the research is in consideration of underlying temporal, relational aspects of improvisation, which show how improvisations in music and in everyday conversation have both similarities and

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Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.

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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.

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Pratama, Bayu. "Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing"." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (June 27, 2024): 76–87. http://dx.doi.org/10.17509/interlude.v3i2.71594.

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This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisat

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Norgaard, Martin, Samantha N. Emerson, Kimberly Dawn, and James D. Fidlon. "Creating Under Pressure." Music Perception 33, no. 5 (June 1, 2016): 561–70. http://dx.doi.org/10.1525/mp.2016.33.5.561.

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

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Johnson-Laird, P. N. "How Jazz Musicians Improvise." Music Perception 19, no. 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.

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This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new m

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Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom." General Music Today 33, no. 1 (April 25, 2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.

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Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a liste

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Ustinskovs, Jevgeņijs. "Kinds of Improvisation Activity in Music Secondary Schools." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 163. http://dx.doi.org/10.17770/sie2012vol1.32.

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<p>Pedagogical experience and findings of different scholars testify to the fact that mastering improvisation can be based on essentially different didactic approaches. Therefore, at developing the didactic model of mastering improvisation in music secondary school, a necessity arises to study kinds of improvisation activity and define the more important kinds of improvisation activities for mastering improvisation in music secondary schools. The research method: analysis of literature, analysis of the author’s pedagogical experience.<br />We consider that for mastering improvisati

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Hall, Matthew J. "Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)." Early Music 48, no. 2 (May 2020): 177–92. http://dx.doi.org/10.1093/em/caaa026.

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Abstract Unfigured basslines serve as the starting points for collective improvisation in several sections of Agostino Agazzari’s Eumelio (1606). Agazzari makes clear that musicians used such basslines for effective ensemble improvisations in his well-known treatise Del sonare sopra’l basso con tutti li stromenti (1607) and in other contemporaneous documents. Gloria Rose has identified isolated examples of written ‘tablatures of the bass’, or contrapuntal templates from which ensembles improvised. However, analysis of the harmonic and modal parameters of the vocal monody in Eumelio shows how c

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Guilbault, Denise Marie. "The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.

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The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment receive

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Ng, Hoon Hong. "Collective Free Music Improvisation as a Sociocommunicative Endeavor: A Literature Review." Update: Applications of Research in Music Education 37, no. 2 (June 22, 2018): 15–23. http://dx.doi.org/10.1177/8755123318784109.

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This article is a review of literature that conceptualizes the practice of collective free music improvisation as a sociocommunicative endeavor, with its appended value and implications to musicians and music learners. Researchers have revealed that this conceptualization breaks down cultural and stylistic music boundaries to establish understanding and empathy among diverse and unique performers—through live music interactions and communication on an egalitarian and evolving platform that is negotiated by all participants. To enable collective free music improvisation pedagogically, researche

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

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

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

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

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Larsson, Christina, and Eva Georgii-Hemming. "Improvisation in general music education – a literature review." British Journal of Music Education 36, no. 1 (June 22, 2018): 49–67. http://dx.doi.org/10.1017/s026505171800013x.

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The overall purpose of this article is to provide a convenient summary of empirical research on improvisation in general music education and thereby provide guidance to researchers and practitioners, using a systematic, narrative-review approach. By analysing 20 music education research articles, published from 2000–2015 in peer-reviewed journals, we firstly provide an overview of the key features and knowledge of existing research. Secondly we identify how improvisation has been characterized, conceptually before, thirdly, describing the implications of the literature for improvisation in pra

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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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Ng, Hoon Hong. "The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives." Journal of Music Teacher Education 30, no. 3 (June 2021): 40–53. http://dx.doi.org/10.1177/10570837211018287.

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I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisa

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Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (June 9, 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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Kim, Sung-Ki. "Music Improvisation in Morphological Music Therapy." Journal of Humanities 41 (June 30, 2016): 131–55. http://dx.doi.org/10.21582/tjh.2016.06.41.131.

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Dutra, Arthur. "From expert Adorno listener to improvisational participant : questions about cultures of hearing." Itamar. Revista de investigación musical: territorios para el arte, no. 9 (July 4, 2023): 61. http://dx.doi.org/10.7203/itamar.9.26997.

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Abstract. Would it be possible to familiarize the public with the procedures and techniques of contemporary music, including the genres related to jazz and other improvised music? Secondly, how to ensure that the knowledge of these forms of music would generate an appropriate reception? Based on these questions, the article aims to analyze some aspects of the “listening cultures” from the perspective of, among others, Adorno’s sociology of music, Peter Szendy’s history of our ears and the general participation of the public on the improvisation workshops. The moment of a listener’s improvisati

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Canonne, Clément. "Listening to Improvisation." Empirical Musicology Review 13, no. 1-2 (January 17, 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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Daikoku, Tatsuya. "Statistical Properties in Jazz Improvisation Underline Individuality of Musical Representation." NeuroSci 1, no. 1 (September 21, 2020): 24–43. http://dx.doi.org/10.3390/neurosci1010004.

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

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Prévost, Eddie. "Improvisation: Music for an Occasion." British Journal of Music Education 2, no. 2 (July 1985): 177–86. http://dx.doi.org/10.1017/s0265051700004794.

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The case is put for improvisation as the basis for world music, with special reference to flexibility of the blues and the gamelan. An overview of the impact of society on music leads to a general survey of the status of improvisation in pre-industrial Western European culture. Improvisation is contrasted with composition and consideration is given to the problems of providing education in improvisation without destroying its vitality and communicative power.

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Hermelin, B., N. O'Connor, S. Lee, and D. Treffert. "Intelligence and musical improvisation." Psychological Medicine 19, no. 2 (May 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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Biasutti, Michele, and Luigi Frezza. "Dimensions of Music Improvisation." Creativity Research Journal 21, no. 2-3 (May 7, 2009): 232–42. http://dx.doi.org/10.1080/10400410902861240.

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38

Rowan, Brent D. "Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit." LEARNing Landscapes 10, no. 2 (July 7, 2017): 257–69. http://dx.doi.org/10.36510/learnland.v10i2.814.

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Abstract (sommario):

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

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39

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 (March 10, 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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40

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 (September 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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41

Siljamäki, Eeva, and Panagiotis A. Kanellopoulos. "Mapping visions of improvisation pedagogy in music education research." Research Studies in Music Education 42, no. 1 (July 9, 2019): 113–39. http://dx.doi.org/10.1177/1321103x19843003.

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This systematic literature review aims to identify and critically examine the prevailing general trends of music education research that addresses issues of improvisation from 1985 to 2015. The study examined the main features of studies with impact that focus on musical improvisation and have been published in peer-reviewed music education journals. Data were organised on the basis of the following: 1) General publication features; 2) Topic; 3) Methodological approach; 4) Participant features; 5) Type of improvisation; 6) Definition of improvisation; 7) Findings; 8) Suggestions for practice.

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Korošec, Kaja, Blaženka Bačilija Susić, and Katarina Habe. "Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre." Revija za elementarno izobraževanje 15, no. 3 (September 2022): 339–56. http://dx.doi.org/10.18690/rei.15.3.339-356.2022.

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The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students w

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43

HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (November 29, 2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.

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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisa

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Karjalainen-Väkevä, Mirja. "Presentation: Using improvisational skills in teaching music and drama." BUKS - Tidsskrift for Børne- & Ungdomskultur 33, no. 61 (April 13, 2016): 6. http://dx.doi.org/10.7146/buks.v33i61.23394.

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How can techniques adapted from improvisation in music and drama promote creative teaching and learning? Firstly, I discuss why improvisation is important in teaching. I present aspects of improvisation relevant to both dramatic and musical improvisation, and reflect on how these skills could also serve teaching, especially in the subjects of drama and music.

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Faraco, Arthur. "Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material." Opus 27, no. 2 (May 1, 2021): 1–27. http://dx.doi.org/10.20504/opus2021b2712.

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In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment

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46

Norgaard, Martin, Matthew G. Dunaway, and Steven P. Black. "Descriptions of Improvisational Thinking by Expert Musicians Trained in Different Cultural Traditions." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 45–66. http://dx.doi.org/10.5406/21627223.237.03.

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Abstract Research about improvisation often focuses on one musical tradition. The current study investigated experts’ descriptions of thinking behind improvisation in different cultural traditions through interviews with advanced improvisers residing in a metropolitan area in the United States. The participants were rigorously trained in their tradition and have performance experience within it. However, as residents of the United States, they are experienced in communicating with Western audiences and conversant in Western ways of thinking about music. Immediately after completing the improvi

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Mesz, Bruno, Nicolás Gorla, and Manuel Zarzo. "The Music of Perfume." Music Perception: An Interdisciplinary Journal 41, no. 2 (December 1, 2023): 110–31. http://dx.doi.org/10.1525/mp.2023.41.2.110.

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Reported studies about crossmodal correspondences between music and smell basically focus on individual musical parameters. An experiment was carried out to explore such correspondences emerging from musical improvisation elicited by 20 olfactory stimuli, which allows the study of multiple musical parameters at the same time. A group of 14 pianists was asked to smell each stimulus and to play a short free improvisation inspired by it. From each improvisation, 14 musical parameters were extracted. The same odorants were also described by a panel of 15 volunteers. The main outcomes were the foll

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48

Addison, Richard. "A New Look at Musical Improvisation in Education." British Journal of Music Education 5, no. 3 (November 1988): 255–67. http://dx.doi.org/10.1017/s0265051700006665.

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After a brief summary of the development of ‘Creative Music’ in schools in the U.K., the author suggests that the emphasis on Improvisation, advocated by Orff and others, has been lost in favour of the Composition/Product model.An attempt to define ‘Improvisation’ leads to various considerations of its value and purpose in various educational settings, and in Music Therapy. Links with ‘play’ in young children, and with practices in Movement/Dance education are drawn.Practical examples are suggested, and a ‘spectrum’of degrees of ‘improvisation’ opportunity are suggested. Participants perceptio

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Schroeder, Franziska, and Iain Campbell. "Improvisation/Indeterminacy." Contemporary Music Review 40, no. 4 (July 4, 2021): 359–65. http://dx.doi.org/10.1080/07494467.2021.2001934.

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50

Solomon, Larry. "Improvisation II." Perspectives of New Music 24, no. 2 (1986): 224. http://dx.doi.org/10.2307/833221.

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