Relevant bibliographies by topics / Improvisation

Academic literature on the topic 'Improvisation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Improvisation"

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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 improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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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. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
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Schirr, Bertram. "Improvisieren für mehr Beteiligung am Gottesdienst?" International Journal of Practical Theology 23, no. 2 (November 29, 2019): 242–56. http://dx.doi.org/10.1515/ijpt-2018-0042.

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Abstract Analyzing contemporary experiments in homiletical and liturgical improvisation shows fresh and exciting potential for more participation in worship. The use of Free Jazz as a paradigm for liturgical and homiletical practice is complimented by the model of Theatrical Improvisation. By rendering empirical improvisations in liturgy and preaching as interactions, a grid of participatory improvisational strategies is generated that can be usefully employed for the analysis and improvement of other pastoral practices such as pastoral care or ministerial training.
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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 question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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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 listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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Alhussein, Hasnaa, Lynn Shehab, and Farook Hamzeh. "Improvisation in Construction Planning: An Agent-Based Simulation Approach." Buildings 12, no. 10 (October 5, 2022): 1608. http://dx.doi.org/10.3390/buildings12101608.

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Improvisation is the decision-making process addressing unexpected obstacles in a spontaneous but rational manner. Although undesirable, as it indicates deviation from plans, improvisation is unavoidable in construction to address issues related to unforeseen uncertainties. An adaptive planning system employing improvisation to react rapidly to unplanned events may therefore boost the performance in construction projects. Accordingly, this research aims to predict the outcomes of construction planning processes from an improvisational perspective by better understanding the dynamics of improvisation. It seeks to identify how different variations of improvisational parameters influence the improvisational outcome. This objective is achieved through an agent-based model used to simulate the improvisation practices at the level of planners interacting together. Parameters relating to planners, projects, and problems influencing each planner’s improvisational means are illustrated in the model. The model’s inputs were validated through data from large-sized projects. Linear regression models that predict the results of the improvisational practices were then developed through simulation experiments. Findings regarding the impacts of different types of improvisors on the improvisational outcomes are presented. The contribution of this study lies in enhancing the overall improvisational performance in construction planning to ultimately guide decision makers and planners to better handle uncertainties in projects.
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Vera, Dusya, and Mary Crossan. "Theatrical Improvisation: Lessons for Organizations." Organization Studies 25, no. 5 (June 2004): 727–49. http://dx.doi.org/10.1177/0170840604042412.

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This article uses the improvisational theatre metaphor to examine the performance implications of improvisational processes in firms. We recognize similarities and differences between the concepts of performance and success in both theatre and organizations, and extract three main lessons from improvisational theatre that can be applied to organizational improvisation. In the first lesson, we start by recognizing the equivocal and unpredictable nature of improvisation. The second lesson emphasizes that good improvisational theatre arises because its main focus, in contrast to the focus of firms, is more on the process of improvising and less on the outcomes of improvisation. Lastly, in the third lesson, we look at the theatre techniques of ‘agreement’, ‘awareness’, ‘use of ready-mades’, and ‘collaboration’, and translate them into concepts that are relevant for organizations in developing an improvisational capability.
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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 from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
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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; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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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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Dissertations / Theses on the topic "Improvisation"

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Fahlén, Martin. "Improvisation i musikundervisning : Musikpedagogers upplevelse av improvisation." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-147413.

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Syftet med studien är att belysa musikpedagogers upplevelser av improvisation i sinundervisning, samt hur de arbetar med improvisation i pedagogiska situationer.Utgångspunkten i studien var de möjligheter som finns med improvisation som strategi förlärande och de tankar som förekommer huruvida improvisationen kräver någraförkunskaper eller ej.För att nå ämnets syfte har kvalitativa narrativa intervjuer genomförts med sexinformanter som är verksamma musikpedagoger. De utvalda pedagogerna arbetar medimprovisation främst i gymnasieskolan men även i kulturskolan. Studien riktar sig varkentill något specifikt instrument eller specifik genre. Resultatet presenteras i form av tioteman: Att erhålla frihet; Att erfara vardaglig instinkt; Att uttrycka sig idiomatiskt; Attutgå från den musikaliska verktygslådan; Att behärska musikens hantverk; Att hindras avsjälvkritik och rädsla; Att vara spontan; Att greppa improvisationens värld; Att upplevagenom lyssning; Att följa till kunskap. Dessa teman skildrar innebörder av pedagogernasupplevelser av improvisation i undervisning. Resultatet reflekteras över med hjälp avbland annat Stenströms (2009) begrepp fri/idiomatisk improvisation och hur den kankopplas till genrekännedom; Nachmanovitch (2010) spirituella syn av improvisation;Berkowitz (2014) syn av genreorienterade improvisation; samt von Wachenfeldts (2015)avpassning av den mimetiska processen.
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Waern, Peder. "Improvisation i fokus : övning av improvisation i jazzmusik." Thesis, Kungl. Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1121.

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Pierce, John Michael. "Intuitive improvisation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328197897.

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Abubakr, Mukryan. "Maqam - orientalisk improvisation : att utforska maqam-baserad improvisation på solocello." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4234.

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Alatalo, Elina. "Att spela en improvisation : C. Tournemires improvisation över Victimae Paschali." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2463.

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Denna uppsats handlar om Charles Tournemires (1870-1939) improvisation från 1930 över den gregorianska sekvensen Victimae Paschali. Improvisationen nedtecknades senare av Maurice Duruflé. Sekvensen återfinns i den svenska psalmboken från 1986 där den sjungs som en växelsång mellan kör och församling. Uppsatsen behandlar frågor gällande komposition och improvisation och den eventuella problematiken som kan uppstå i nedtecknandet av en annan musikers verk. Vad händer när man spelar musik som var menat att finnas en gång, där det framgått att upphovsmannen inte velat få den transkriberad? Hur mycket hänsyn till notbilden tar musikern när denne vet att det är en improvisation, gentemot när det rör sig om en komposition?

Konsertprogram, examenskonsert:

J.S Bach: Komm, heiliger Geist, Herre Gott (BWV 651)

D. Buxtehude: Toccata d-moll (BuxWv 155)

M. Reger: Melodia (Op 59 no 11)

C. Tournemire: ur Cinq improvisation: Improvisation sur le Victimae Paschali

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Dyson, Kathy. "Learning jazz improvisation." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3627/.

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The process of learning jazz improvisation is investigated in an exploratory way drawing on schema theory as a possible framework, from both a theoretical and a practical perspective. A schema is considered to be an abstract framework in the mind that both structures and is structured by experience. In this thesis, schema theory relating to a number of disciplines, is explained indetail, focusing on cognitive and motor elements in order to relate these processes to jazz improvisation and thus to provide a theoretical model. The model in turn is used to investigate how conceptual knowledge may be abstracted and generalised; how motor skill in musical improvisation may be developed; how cohesion in improvised lines may be generated; how multi-modal aspects of the skill may be integrated; how novel ideas may occur; how the individual voice is created and how improvised ideas may be communicated. This schema theory for jazz improvisation provides the theoretical ground from which a series of educational workshops (involving both groups and- individual musicians), on jazz improvisation learning was guided, observed and interrogated by the author as investigator in collaboration with the participants. A qualitative research methodology is used to collect and then analyse data from the workshops. Evidence from these practical investigations demonstrates the ability for musicians (mainly classically trained instrumentalists), untrained in jazz or improvisation to develop improvisation skills in a naturalistic and holistic manner, which is consistent with a theoretical account of schema theory. The workshop teaching also reveals the value of singing to improvisation development and the recreative/selective nature of memory. The findings, whilst considered speculative and work in progress have wide ranging implications for understanding dynamic adaptive skill and for educational practice, specifically, how knowledge of the schema might help teachers striving to teach music improvisation.
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Riethmüller, Albrecht. "Thesen über Improvisation." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36807.

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Stenström, Harald. "Free ensemble improvisation /." Göteborg : Faculty of Fine, Applied and Performing Arts, Academy of Music and Drama, University of Gothenburg, 2009. http://hdl.handle.net/2077/20293.

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Weidner, Raymond Frank. "The improvisational techniques of Charles Tournemire as extracted from his five reconstructed organ improvisations /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122048d.

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Bergman, Anders. "Improvisation och gehör för instrumentalister. En litteraturstudie av läromedel om vokal improvisation." Thesis, Kungl. Musikhögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-857.

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Books on the topic "Improvisation"

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John, Ruediger, ed. Improvisation. New York, USA: [sic!], 1991.

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Uitti, Frances-Marie. Improvisation. Abingdon: Routledge, 2006.

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Marchelie, Érik. Improvisation. Saint-Romuald, QC: Productions d'Oz, 2006.

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Leep, Jeanne. Theatrical Improvisation. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612556.

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Dell, Christopher. Prinzip Improvisation. Köln: König, 2002.

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Weir, Michele. Vocal improvisation. [Rottenburg N., Germany]: Advance Music, 2001.

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N, Kamoche Ken, Cunha Miguel Pina e, and Cunha, Joao Vieira da, 1974-, eds. Organizational improvisation. London: Routledge, 2002.

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Johns, Michele. Hymn improvisation. Minneapolis: Augsburg Pub. House, 1987.

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Rose, Simon. Relational Improvisation. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197.

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N, Kamoche Ken, Cunha Miguel Pina e, and Cunha, Joao Vieira da, 1974-, eds. Organizational improvisation. London: Routledge, 2002.

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Book chapters on the topic "Improvisation"

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Brown, John Russell. "Improvisation." In Shakespeare and the Theatrical Event, 150–61. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-0-230-62961-5_10.

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Storz, Dorothee. "Improvisation." In Wörterbuch der Psychotherapie, 303. Vienna: Springer Vienna, 2000. http://dx.doi.org/10.1007/978-3-211-99131-2_825.

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Bertinetto, Alessandro. "Improvisation." In Lecture Notes in Morphogenesis, 273–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_61.

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D. Soyini, Madison. "Improvisation." In Performed Ethnography and Communication, 25–42. Milton Park, Abingon, Oxon ; New York, NY: Routledge, 2017. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315765075-2.

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Walker, Stuart. "Improvisation." In Design Realities, 265–67. spirit / Stuart Walker. Description: First edition. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429489037-99.

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Luban-Plozza, Boris, Mario Delli Ponti, and Hans H. Dickhaut. "Improvisation." In Musik und Psyche, 51–55. Basel: Birkhäuser Basel, 1988. http://dx.doi.org/10.1007/978-3-0348-5824-3_8.

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Lutterbie, John. "Improvisation." In Toward a General Theory of Acting, 161–79. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119468_6.

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Friedman, Dan. "Improvisation." In Performance Activism, 35–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80591-3_4.

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Burger, Cole. "Improvisation." In Keyboard Skills for the Practical Musician, 150–65. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003055044-7.

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Reis, John. "Improvisation." In Advanced Design, 107–13. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95782-7_6.

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Conference papers on the topic "Improvisation"

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Friis-Olivarius, Morten, Mikkel Wallentin, and Peter Vuust. "Improvisation." In Proceeding of the seventh ACM conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1640233.1640326.

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Mills, Roger Haigh. "Tele-improvisation." In the 8th ACM conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2069618.2069753.

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Jiao Jian Wang and Olana Missura. "Racing tracks improvisation." In 2014 IEEE Conference on Computational Intelligence and Games (CIG). IEEE, 2014. http://dx.doi.org/10.1109/cig.2014.6932899.

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R, Siddharth, and S. Ganesh Kumar. "Personalized Music Improvisation." In 2024 2nd International Conference on Networking and Communications (ICNWC). IEEE, 2024. http://dx.doi.org/10.1109/icnwc60771.2024.10537371.

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Bell, Renick. "A live coding improvisation." In C&C '13: Creativity and Cognition 2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2466627.2481241.

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Vazquez-Chanlatte, Marcell, Sebastian Junges, Daniel Fremont, and Sanjit Seshia. "Entropy-Guided Control Improvisation." In Robotics: Science and Systems 2021. Robotics: Science and Systems Foundation, 2021. http://dx.doi.org/10.15607/rss.2021.xvii.051.

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Tomayko-Peters, Arvid. "Improvisation with the TOOB." In ACM SIGGRAPH 2009: Music & Audio. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597983.1597987.

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de Valk, Linda, Tilde Bekker, and Berry Eggen. "Leaving room for improvisation." In IDC '13: Interaction Design and Children 2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2485760.2485771.

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S, Sangheethaa, Arun Korath, and Ranjana C. "Improvisation in SHA Algorithm." In 2023 IEEE International Conference on Recent Advances in Systems Science and Engineering (RASSE). IEEE, 2023. http://dx.doi.org/10.1109/rasse60029.2023.10363491.

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Ahangama, Nadeera, and Raj Prasanna. "Knowledge Improvisation during floods." In 2017 Moratuwa Engineering Research Conference (MERCon). IEEE, 2017. http://dx.doi.org/10.1109/mercon.2017.7980527.

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Reports on the topic "Improvisation"

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Howe, Sandra. Toward improvisation. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5372.

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Bujard, Martin, Inga Laß, Sabine Diabaté, Harun Sulak, and Norbert F. Schneider. Eltern während der Corona-Krise: Zur Improvisation gezwungen. Federal Institute for Population Research, 2020. http://dx.doi.org/10.12765/bro-2020-01.

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Die Studie gibt einen Überblick über die Größenordnungen der von der Schließung von Kindertagesstätten (Kitas) und Schulen betroffenen Elterngruppen sowie der Veränderungen auf dem Arbeitsmarkt in den Monaten des Lockdowns. Im Anschluss werden vier Themenbereiche, die während der Krise an Relevanz gewannen, näher betrachtet: Eltern in systemrelevanten Berufen, Homeoffice als Lösung, Arbeitsteilung zwischen Frau und Mann sowie psychologische Folgen der Krise für Eltern.
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3

Fortier, Brad. Long Form Improvisation - Creating Spontaneous Communities Through Collaborative Comedic Performance. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.32.

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Clark, Jeffrey B. Lesson Relearned the Urgent Need to Replace Post-Conflict Improvisation with Policy. Fort Belvoir, VA: Defense Technical Information Center, March 2005. http://dx.doi.org/10.21236/ada431930.

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Yadav, Mukesh, and Deepika Jha. Re-Examine the Model to Manage Revenue Court Cases in Uttar Pradesh. Indian Institute for Human Settlements, 2022. http://dx.doi.org/10.24943/remmrccup03.2022.

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The Board of Revenue (BoR), Government of Uttar Pradesh, with the technical support of the National Informatics Centre (NIC)–UP, launched an online portal—Revenue Court Computerised Management System (RCCMS)—in the year 2013. Given the services offered by the portal, it is quite evident that the RCCMS has improved the transparency and efficiency in the functioning of revenue courts in Uttar Pradesh. Based on a study conducted by the Indian Institute for Human Settlements (IIHS), the team has found that this portal has the scope for further improvement, despite its technological advancements. This policy brief compares the national level portal (the Supreme Court) and one state (Madhya Pradesh) for such improvisation.
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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.

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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.
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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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