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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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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 constrained the possibilities for improvisation actually were, indicating that the training of musicians c.1600 prepared them to improvise collectively from a bassline, even without such written tablatures. Some aspects of historical musicianship could lead to successful and enjoyable collective improvisation today, suggesting ways to bridge the gap between the contrapuntal training of modern and past musicians.
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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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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), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Hansen, Hans, Daved Barry, David M. Boje, and Mary Jo Hatch. "Truth or Consequences." Journal of Management Inquiry 16, no. 2 (June 2007): 112–26. http://dx.doi.org/10.1177/1056492607302652.
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What follows is a collectively improvised story that emerged as four authors set out to explore their experiences and thoughts concerning organizational stories. The story is a reflection of their collective, creative, improvisational sense making via the construction of a narrative. The authors were selected because of their experience in the fields of organizational storytelling, narrative theory, and improvisation. They began by asking themselves “What would happen if we engaged in improvisation to collectively create a story that makes sense of organizational research?” After several rounds of reviews, they added reader voices, along with their own insights gained from their experience in constructing “Truth or Consequences.”
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Roud, Ensieh. "Collective improvisation in emergency response." Safety Science 135 (March 2021): 105104. http://dx.doi.org/10.1016/j.ssci.2020.105104.
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Martin, Lyndon, Jo Towers, and Susan Pirie. "Collective Mathematical Understanding as Improvisation." Mathematical Thinking and Learning 8, no. 2 (April 2006): 149–83. http://dx.doi.org/10.1207/s15327833mtl0802_3.
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Vilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics." Filozofija i drustvo 28, no. 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.
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The paper analyzes the concept of collective improvisation and draws out its potentials for social and political theory. Translating the ideas of collective improvisation from their original context in the theatre into the field of political thought, I argue that they offer a new understanding of political action by reevaluating the concepts of dissensus (Ranci?re) and community (Nancy), as well as the ways in which politics as a system needs to produce collectively binding decisions (Luhmann). I conclude that the ideas inherent in the practice of collective improvisation, as it has been developed within the tradition of modern theatre improvisation, subvert our intuitive ways of thinking about politics and thereby offer an alternative model of being and acting together.
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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, researchers have highlighted the importance and ways of approaching it as a form of social interactionism, developing a personal music language to converse fluently and meaningfully, and establishing shared understanding among fellow improvisers as the foundation for music interaction. Together, these pedagogical implications may be synergized to inform ways in which classroom free improvisational practices may nurture expressive and confident improvisers rooted in the reality of the moment, as well as in the music conversations with one’s self and others.
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Ford, Charles C. "Free collective improvisation in higher education." British Journal of Music Education 12, no. 2 (July 1995): 103–12. http://dx.doi.org/10.1017/s0265051700002552.
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Free improvisation has two sources in the avant garde jazz, and experimental classical practices of the 1960s. Appeals to freedom, musical or otherwise, often result in more limitations. Sessions at Thames Valley University are managed by the students, and involve intense debate concerning how best to maximise collective musical freedom. Performances are triggered by individually prepared plans, which take the form of intervallic and rhythmic cells, registrally distinct roles, formal markers, dynamic processes, and even evocative poetics. Free collective improvisation in the classroom rewards sensitivity and sustained, intense concentration with a confrontational and convivial, ethical and musical, experience.
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Clément Canonne. "Focal Points in Collective Free Improvisation." Perspectives of New Music 51, no. 1 (2013): 40. http://dx.doi.org/10.7757/persnewmusi.51.1.0040.
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Clément Canonne. "Focal Points in Collective Free Improvisation." Perspectives of New Music 51, no. 1 (2013): 40–55. http://dx.doi.org/10.1353/pnm.2013.0010.
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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 improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.
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Hong, Ng Hoon. "Structured Surround Soundscapes: A Three-Pronged Strategy for Effective and Meaningful Collective Improvisation." Music Educators Journal 106, no. 2 (November 26, 2019): 51–57. http://dx.doi.org/10.1177/0027432119870584.
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This article presents a three-pronged strategy for teaching collective improvisation in the general music classroom through structured surround soundscapes. This strategy consists of developing socio-interactive skills, shared understanding, and personal music vocabulary in collective improvisation. In the music classroom, these concepts should be consciously developed in tandem through hands-on means to foster effective and meaningful collective improvisation. The structured surround soundscape project presents one such way this may be enabled using the three-pronged strategy to nurture ensemble improvisers who can engage in fluent sociomusical conversations in real-world contexts.
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Angelino, Lucia. "Collective intentionality and the further challenge of collective free improvisation." Continental Philosophy Review 53, no. 1 (January 27, 2020): 49–65. http://dx.doi.org/10.1007/s11007-020-09484-y.
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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 improvisation at music school, it is essential to use such kinds of improvisation activities as: rhythmic and rhythmic-melodic improvisation; imagery improvisation; total and partial improvisation; continuous and episodic improvisation; solo and collective improvisation; musical improvisation on various instruments; improvisation in other arts; technology-based improvisation activities.</p>
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Luo, Jia. "The Application of 'Improvisational Accompaniment' in Piano Textbooks for Music Majors in Chinese Higher Education." International Educational Research 7, no. 3 (December 25, 2024): p40. https://doi.org/10.30560/ier.v7n3p40.
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This research evaluates the pedagogical application of "Improvisational Accompaniment" in piano textbooks within Chinese higher music education, highlighting its significance in enhancing students' practical skills and professional prospects. The study examines the integration of foundational piano training with improvisation, the promotion of creative teaching methods, and the unique educational features of Chinese textbooks. Empirical analysis presents a multifaceted teaching approach, including collective instruction and targeted practice, to bolster students' improvisational proficiency. The findings offer insights for global music educators on syllabus development and innovative teaching strategies.
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Camilleri, Frank. "Collective Improvisation: The Practice and Vision of Ingemar Lindh." TDR/The Drama Review 52, no. 4 (December 2008): 82–97. http://dx.doi.org/10.1162/dram.2008.52.4.82.
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Ingemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle.
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Lissoni, Juliano, Alexandre Marino Costa, Gilberto De Oliveira Moritz, and Maurício Fernandes Pereira. "ESTRATÉGIA E JAZZ: UM NOVO PROCESSO DE FORMULAÇÃO ESTRATÉGICA." Revista de Negócios 12, no. 4 (March 14, 2008): 03. http://dx.doi.org/10.7867/1980-4431.2007v12n4p03-17.
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What strategy really means and how strategies are created has been an emerging topic in the field of management. This article’s main purpose is not to create a new division, but get together the theme, in order to consider strategy as a sequence of moments, that starts from strategic intent and planning, but allows the derivative behavior. The main conclusion is that the metaphoric comparison between strategy making and jazz, which some basic element of jazz performance, as experimentation and improvisation, join the collective notes, in order to bring magic moments to the audience. Improvisation and experimentation are related with jazz evolution, in which the significant and well-succeed derivative situations changed the music in a modern way, without loosing its temper. This occurs in companies as well, where tries and improvisations can bring strategic evolution. Key Words: Strategy Making. Derivative Strategies. Jazz.
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Ludigkeit, Dirk. "Collective improvisation and narrative structure in Toni Morrison'sJazz." Lit: Literature Interpretation Theory 12, no. 2 (January 2001): 165–87. http://dx.doi.org/10.1080/10436920108580286.
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Gershon, Walter. "Collective Improvisation: A Theoretical Lens for Classroom Observation." Journal of Curriculum and Pedagogy 3, no. 1 (June 2006): 104–35. http://dx.doi.org/10.1080/15505170.2006.10411586.
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Stévance, Sophie. "Une lecture dialogique de l’improvisation libre et collective en musique actuelle et en contact-improvisation." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 2012): 117–25. http://dx.doi.org/10.7202/1012357ar.
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Cet article propose une analyse de l’improvisation en musique actuelle, un courant musical d’avant-garde qui s’est développé au Québec en 1979, à la lumière du contact-improvisation (mouvement chorégraphique apparu aux États-Unis en 1972). L’objectif est de comprendre la nature de ces arts improvisés où le rapport avec autrui en est le fondement. Comment l’individu et l’autre agissent-ils l’un sur l’autre? Comment prennent-ils la place qui leur revient dans le cadre d’un même processus conversationnel en cours? Le dialogisme selon Bakhtine, ici considéré comme métaphore, permet d’illustrer les interactions en jeu dans la musique actuelle et le contact-improvisation. Le dialogisme offre également l’occasion d’interroger la notion d’improvisation libre et collective, dont la musique actuelle et le contact improvisation sont les dignes représentants.
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Hj. Ahmad Arshad, Darwina, and Sharifah Nora Al-Idrus. "Disentangling the Empirical Evidence between Personality, Work Experience, and Improvisation among Middle Management Government Officers." Journal of Business Management and Accounting 4 (February 23, 2020): 75–85. http://dx.doi.org/10.32890/jbma2014.4.0.8881.
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This study examined the empirical association between personality traits, workexperience, and improvisation. Big five personality traits (Extraversion, Agreeableness,Conscientiousness, Neuroticism, and Openness) and individual work experience werethe independent variables; whereas individual improvisation was the dependentvariable. Data were collected from middle management level of government officersfrom various ministries in Putrajaya, Malaysia. Results revealed that Extraversionand Openness had a significant and positive contribution towards improvisation whileother traits (Agreeableness, Conscientiousness, and Neuroticism) did not demonstratea significant association with improvisation. The findings of this study could contributeto the collective knowledge of management and be useful to both theorists and managers.
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Canonne, Clément, and Nicolas Garnier. "Individual Decisions and Perceived Form in Collective Free Improvisation." Journal of New Music Research 44, no. 2 (April 3, 2015): 145–67. http://dx.doi.org/10.1080/09298215.2015.1061564.
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Faraco, Arthur. "Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis." Empirical Musicology Review 18, no. 1 (January 12, 2024): 63–81. http://dx.doi.org/10.18061/emr.v18i1.8875.
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This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t – Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces.
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Zaldua, Alistair. "NOTATION AND IMPROVISATION: NOTATIONAL PRAXIS IN THE WORK OF THE ICP, SARAH BRAND AND MOSS FREED." Tempo 78, no. 308 (April 2024): 24–37. http://dx.doi.org/10.1017/s0040298223000931.
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AbstractThis article examines the relationship between notation and improvisation and the ways in which notational representation and prescription are extended by para-notation in the work and practice of the improvisers Sarah Brand and Moss Freed and in the work of ethnomusicologist Floris Schuiling, in particular through his research into the Dutch collective, the Instant Composers Pool (ICP). Sarah Brand analyses her own improvisation transcriptions using concepts derived from music therapy to help sharpen awareness for future improvisation. Moss Freed's Micromotives features his own variant of conduction, developed through reflexive and cyclic processes of notation, rehearsals and discussion. Floris Schuiling's ethnomusicological research into the ICP reveals how notation can be used to generate creative challenges, not only for the members of the collective but for musicians in general. A series of interviews reveals that these musicians use notation to render processes visible and to build and develop communities and cultures.
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Frykmer, Tove, Christian Uhr, and Henrik Tehler. "On collective improvisation in crisis management – A scoping study analysis." Safety Science 110 (December 2018): 100–109. http://dx.doi.org/10.1016/j.ssci.2018.02.028.
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Otto, Patrick. "Fondement esthétique et techniques d’écriture dans Mynes (2007)." Les Cahiers de la Société québécoise de recherche en musique 10, no. 2 (November 28, 2018): 15–26. http://dx.doi.org/10.7202/1054088ar.
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Si la recherche exige un protocole reconnaissable par la communauté scientifique, en revanche la création prend en compte la subjectivité de l’appréciation – du sonore en l’occurrence – comme source de connaissance valide. Partant de ce double constat, le processus de composition de Mynes pour trio à cordes et orchestre, exemple « d’oeuvre-présent », conçu et créé en 2007, sera pris comme objet d’étude. La première partie de l’exposé thématise le repérage des moments ayant chacun obtenu une authentification : premières improvisations pianistiques, captation d’un titre, improvisation collective confiée au trio à cordes et confrontée à un orchestre. La seconde partie de l’exposé présente les techniques d’écriture employées : passage d’un accord à un autre, en particulier au moyen de l’improvisation, la forme en ellipse, le « donné à entendre ».
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Hunter, Anton. "Composing for Improvisers: Negotiating the Issue of Individual Voice." Open Cultural Studies 2, no. 1 (September 1, 2018): 203–11. http://dx.doi.org/10.1515/culture-2018-0019.
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Abstract This paper addresses one aspect of my Practice as Research project exploring composing for large groups of improvising musicians. It looks at how my practice evolved as a result of contemplating the nature of solo improvisation, together with Garry L. Hagberg’s writings around “Collective Intention.” I discuss a new work for octet that started with small-group improvisations, initially totally freely and then later using thematic material inspired and informed by the initial sessions. By basing the finished compositions on improvisations this way, I aim to bring the creative voice of the individuals into final performance. Not just by employing the compositional techniques of the likes of Graham Collier, John Zorn, Anthony Braxton and many others who allow room for realtime improvised contributions in performance, but by weaving the unique voices of the musicians into the written material as well. In this way, I am challenging the stereotype of a lone composer working away from the ensemble, which the contemporary big band composer often fits.
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Kalonaris, Stefano. "Beyond Schemata in Collective Improvisation: A Support Tool for Music Interactions." Leonardo Music Journal 28 (December 2018): 34–37. http://dx.doi.org/10.1162/lmj_a_01040.
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This article presents results of experiments undertaken with expert musicians using the author’s original system for systemic improvisation. By promoting the formation of parallel and simultaneous layers of sustained musical relationships, this system facilitates an enhanced focus on local clusters and their development over time. This tool opens a novel perspective on improvised interactions and how they are formed, evaluated, updated, modified and abandoned during a performance, encouraging a critical evaluation of collective schemata.
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Delic, Lidija. "Poetic grounds of epic formulae." Balcanica, no. 44 (2013): 51–78. http://dx.doi.org/10.2298/balc1344051d.
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The study of oral formulae in the twentieth century had several phases. After the initial - very stimulating and influential - research by M. Parry and A. B. Lord, who focused on the technique of composing the poem and the mnemotechnic function of formulae, the focus at first shifted to the concept of performance (J. M. Foley), and then to the mental text (L. Honko), which introduced into research horizons social, ideological, psychological and mental conditions of improvisation, interaction between the singer and the audience, collective and individual factors of memorising, cultural representation, and the like. Although all the abovementioned aspects undoubtedly determine the structure of a specific variant, it should be kept in mind that formulae transcend concrete improvisations and connect different epic zones, different local traditions and different times. The formula precedes verbal improvisation both chronologically and logically. Therefore - before explaining the repeating of formulae by the needs and nature of improvisation (composition-in-performance) or the generating of formulae in specific variants by textualisation of mental text - we must explain the existence of the formula in the first place. This paper seeks to point out the complex system of factors that determine the genesis of formulae. Formulae are regarded as cultural codes, which combine elements from different spheres (the conceptualization of space, time, colour and so on, elements of rituals, customary norms, historical experience, life realities, ethics, etc.). Therefore, their structure is described in terms of hidden knowledge, hidden complexity, frame semantics, the tip of the iceberg, compressed meanings. Meanings ?compressed? in the formulae are upgraded with new ?income? in every new/concrete realisation (i.e. poem) and this is the area where aesthetics rivals poetics.
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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 (July 18, 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 analysis focuses on the integration of composed material into the improvisatory process, the functions of stylistic diversity and multi-instrumentalism in Art Ensemble performance practice, and the interactive roles played by Lester Bowie, Roscoe Mitchell, Joseph Jarman, Malachi Favors, and Don Moye.
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Ives, L. Patricia. "The Last Will and Testament of Lolita, The Very Best Bad Girls Create…" Canadian Theatre Review 55 (June 1988): 30–33. http://dx.doi.org/10.3138/ctr.55.005.
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Collective creations have played an important role in the development of new forms of Canadian theatre. While each collective develops its own individual approach and methodology, in most cases the creation is inspired by a particular social or ideological interest and developed through research and improvisation. More significantly, the project is from its inception a true collaboration, generated and performed by a collective of individuals. This approach is revolutionary, as it denies the traditional supremacy of the single authorial voice by incorporating equally the interests and concerns of the group. As a result, numerous feminist groups have worked collectively to create new works that address specific social and political issues. Some, like Toronto’s Nightwood Theatre, have begun to test the boundaries of the form itself and to generate work from new sources of inspiration.
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Walton, Ashley, Michael J. Richardson, and Anthony Chemero. "Self-Organization and Semiosis in Jazz Improvisation." International Journal of Signs and Semiotic Systems 3, no. 2 (July 2014): 12–25. http://dx.doi.org/10.4018/ijsss.2014070102.
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The complex systems principle of self-organization provides a new way of understanding the behavioral dynamics behind the emergent, spontaneous exchanges of musical performance. In biological self-organization, energy is expended in the form of work which operates to maintain order in a system, collectively constraining the possible behaviors the components of the system can exhibit. When two self-organized systems become closely coupled they form a synergistic, teleodynamic system, such that in a circularly causal manner each system's work helps to maintain and self-sustain one another's behavioral dynamics. The semiotic exchange between two improvising jazz musicians can also be understood as forming a synergistic, teleodynamic system, with musicians expending energy in the form of musical ‘work' that operates to mutually constrain the semiotic form of their own and their co-musicians playing behavior. In more specific terms, the two musicians form a higher-order autopoietic system that both creates and maintains the collective order of the co-playing musicians via the nonlinear, self-organizing dynamics that characterize non-equilibrium dissipative systems. Here the authors introduce this self-organization framework and describe its implications for developing new theories of musical semiotics that adequately address the spontaneous and emergent nature of improvised musical performances. The authors also describe how corresponding methods of non-linear time series analyses can provide the tools necessary for explicating the dynamical processes that shape such complex social exchanges.
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Tsabary, Eldad. "Stabilizing and Destabilizing Agents in Laptop Orchestra Improvisation." Les Cahiers de la Société québécoise de recherche en musique 17, no. 1 (April 17, 2018): 39–49. http://dx.doi.org/10.7202/1044668ar.
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The purpose of this study is to explore effective strategies for successful collective improvisation in laptop orchestras. Collective music-making requires listening to and interacting with others in order to create a cohesive performance. However, musical expression also involves a sense of agency (Maus 1991; Levinson 2004), which may be perceived most prominently when individuals take temporary creative leadership roles and intentionally destabilize the sense of cohesion, either to rejuvenate it or to catalyze change. In my experience teaching and directing the Concordia Laptop Orchestra (CLOrk), I have observed that orchestra members learn to be attentive to stabilization and cohesion and to apply those concepts to their music-making relatively quickly, but that they have more difficulty learning and applying destabilization and catalysis techniques. Through interviews and questionnaires with CLOrk members, I have learned that the obstacles to taking destabilizing actions while improvising may be technical (primarily monitoring challenges), personal (ego depletion and attentional limits), and/or social (risks of peer rejection, exclusion, and shame). CLOrk members proposed strategies to address these challenges, including (1) arranging the orchestra in subgroups to improve audio monitoring coherence and to reduce attentional load and (2) communicating regularly about all relevant matters, including emotional and social obstacles in order to promote a mindful environment of sharing and a safe space for trial and error in the creative process.
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Himberg, Tommi, Julien Laroche, Romain Bigé, Megan Buchkowski, and Asaf Bachrach. "Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness." Behavioral Sciences 8, no. 2 (February 9, 2018): 23. http://dx.doi.org/10.3390/bs8020023.
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Bird, Tess. "The creativity of everyday uncertainty." Journal of Organizational Ethnography 9, no. 1 (April 29, 2019): 1–16. http://dx.doi.org/10.1108/joe-12-2017-0073.
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PurposeDrawing on ethnographic research in selection of urban households in Providence County, Rhode Island, the purpose of this paper is to define uncertainty as an everyday experience embedded in material and social worlds and explore the relationship of uncertainty to creative improvisation and well-being.Design/methodology/approachThis research was anthropological and ethnographic, drawing on an everyday material culture approach to the home. Participant observation and interviews began in April 2015 and ended in April 2016. The data presented in derived from interview transcripts, field notes and photography.FindingsResponses to uncertainty are embedded in habits and practices that help sustain well-being. During uncertain periods marked by transition, change and disappointment, participants draw on domestic practices as well as narrative frameworks to foster stability. Security, well-being, uncertainty, and improvisation emerge as an important intersection in everyday life.Originality/valueThis paper offers a perspective on uncertainty at the intimate level of the home, helping nuance the difference between collective creative improvisation and the economic expectation of individual adaptability.
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Flachs, Andrew, and Paul Richards. "Playing development roles: the political ecology of performance in agricultural development." Journal of Political Ecology 25, no. 1 (October 27, 2018): 638. http://dx.doi.org/10.2458/v25i1.23089.
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Performance is a useful lens through which to analyze agrarian life, as performance illuminates the ways that farmers manage the complex socioecological demands of farm work while participating in social life and in the larger political economy. The dialectic of planning and improvisation in the farm field has produced scholarship at multiple scales of political ecology, including the global ramifications of new technologies or policies, as well as the hyper-local engagements between farmers and fields in the context of modernity and development. Political ecologists are also beginning to understand how affects, such as aspirations and frustrations, influence agriculture by structuring how farmers and other stakeholders make decisions about farms, households, capital, and environments. To understand farm work as a performance is to situate it within particular stages, roles, scripts, and audiences at different scales. The articles in this Special Section ask how farmers have improvised, planned, and performed in response to agroecological challenges, bridging scholarship in political ecology, development studies, and the study of agrarian landscapes through new empirical case studies and theoretical contributions. Agriculture both signals social values and fosters improvisations within farming communities' collective vulnerability to weather and the political economy. We argue that the lens of performance situates the political ecology of agriculture within the constraints of the political economy, the aspirations and frustrations of daily life, and the dialectic between improvised responses to change and planning in the field.Keywords: Performance, agriculture, planning, improvisation, agrarian studies
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Zorzi, Eleonora, and Marina Santi. "how to generate (educate) an inquiring-jazzing community: free and open suggestions from an international workshop (ICPIC 2022)." childhood & philosophy 19 (April 3, 2023): 01–21. http://dx.doi.org/10.12957/childphilo.2023.70680.
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This paper presents the collective reflection of a temporary community of inquiry (COI) created during an international workshop at the 20th biennial ICPIC conference--“Philosophy In And Beyond the Classroom: P4wc Across Cultural, Social, and Political Differences”-- and the suggestions emerging from that event. The workshop, entitled “Pedagojazz—improvising and inquiring, community interplay”, was conducted via Zoom, but participants were both online and present in person. The topic focused on the pedagojazz perspective, and the short activities proposed were aimed at involving the (temporary) COI in a collective discussion about how it would be possible to transform a community of inquiry into an inquiring-jazzing community. Three premises were introduced as common background on which to develop our reflections: the pedagojazz perspective; the connection between pedagojazz idioms and the different roles of the facilitator in P4wC; and the idea that jazz, and collective improvisation in particular, can inform COI development. The principles and practices of pedagojazz and collective improvisation are presented in detail here. During the workshop, Zoom chat and the Wooclap site were used to involve all participants and to gather their contributions and suggestions. A word cloud and three tables were produced and are presented here. Interesting themes, questions and perspectives emerged that can help us reflect in a more complex way on the education of P4wC facilitators across cultural, social and political differences.
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Norgaard, Martin. "Commentary on: "Perception of Structure in Collective Free Improvisation and its Context Dependency" by Arthur Faraco." Empirical Musicology Review 18, no. 1 (January 12, 2024): 82–83. http://dx.doi.org/10.18061/emr.v18i1.9321.
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This short commentary on Arthur Faraco's target paper investigating the perception of structure in collective free improvisation addresses the question of whether the concept of the "interrupt generator" can be used to explain the segmentations annotated by listeners. In addition, the commentary points to opportunities for further modelling of the musical and perceptual data through the use of modern tools from music information retrieval (MIR).
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Muršič, Rajko. "Between Aisthēsis and Colere: Sensoria, Everyday Improvisation and Ethnographic Reality." Amfiteater 9, no. 2021-2 (December 5, 2021): 134–53. http://dx.doi.org/10.51937/amfiteater-2021-2/136-149.
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The individual experience of everyday city life is essentially an everyday improvisation among other people. It is in urban settings where socially structured formations of daily life meet purely individual situated experience in myriads of spontaneously created and shaped assemblages of everyday life. The visual perception of space, sonic orientation in a given place and olfactory plus tactile experience of the environment are the basic aesthetic performances in cultivating a common urban reality. The author discusses specificities of anthropological knowledge derived from first-hand experience of the life of other people in the field. To cope with the complexity of everyday urban improvisation, the author employs two ancient Greek terms to define the space of human interaction: aisthēsis, i.e., sensory perception, and the complex meaning of the Latin verb colere, from which the term culture is derived. The triangulation of everyday improvisation through the sensorial essence of everyday life complements the employment of two other ancient Greek terms, praxis and poiesis. The basic empirical materials used to discuss everyday improvisation in an urban environment are collected narrations of sensory perception and individual lives from sensobiographic walks in Ljubljana, Turku and Brighton. Historically, in the West, the dominance of the senses has shifted from sound, touch and smell, orienting people in orally designed cultural domains, to sight. Smelling is specific embeddedness in place. Its paradoxical position of sensing outside air deeply inside, integrated in breathing, but not always sensing anything special. At the crossroads of distant and close, inner and outer, olfactory experience is simultaneously existentially idiosyncratic and collectively shaped. The paper’s main point is that there are no clear limits between the experienced past and the present. However, both are aesthetically and culturally inscribed in specific registers of individual, social, cultural and embodied memories. The same stands for an ethnographic practice. Everyday life is a continuum of living, weaved together from many discontinuous contingencies. It consists of incongruent, incomplete and chaotic shifts. Repetitive social activities bring order into this everyday mess: rituals and work. For this reason, repetitive music is inevitable for establishing a common ground of the everyday. If ethnography ever touches reality, it is a continuous improvisation in everyday life, shared, collective, and peculiar individual improvisation.
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Skar, Lowell, and Pornrat Damrhung. "Roundtables on Performance Research, Developing Cultural Ecologies, and Artistic Research Networking in the Asia-Pacific." Manusya: Journal of Humanities 23, no. 3 (December 23, 2020): 450–74. http://dx.doi.org/10.1163/26659077-02303012.
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Abstract Three sessions of international and local participants from a July 2019 conference created active ecosystems which generated living examples of intercultural improvisation, performance research, cultural ecologies and artistic research in Thailand. Summarized and assessed in this article, these sessions revealed some of the first fruits of Thailand’s work in these areas through engagement with other practitioners in the region. Besides offering creative improvisation among Thai artists and artist-centered critical assessments of their work, the article captures active thinkers seeking to reimagine the “festival” format for performance research, and seeks for ways to continue future regional collaboration in artistic research. The article embodies the ecological aspects of live collective thinking in the arts.
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Horgan, Mervyn, and Saara Liinamaa. "Entanglements of Improvisation, Conviviality, and Conflict in Everyday Encounters in Public Space." Urban Planning 8, no. 4 (October 26, 2023): 1–5. http://dx.doi.org/10.17645/up.v8i4.7580.
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The everyday life of public space is characterised by many kinds of convivial, conflictual, and improvisational encounters between people of diverse backgrounds and experiences. Because public spaces are, in principle at least, freely accessible to all, they are of central importance to everyday life and intrinsically interesting to social scientists. This thematic issue brings together a range of disciplinary and interdisciplinary perspectives on everyday encounters in public space. In the introduction to this thematic issue, we appeal to urban scholars of all backgrounds to take the social life of public space seriously; as essential social infrastructure, public space is key to the collective well-being of city-dwellers, and it provides a crucial bridge between urban planning and the social sciences. Here, we briefly survey research on everyday encounters and introduce each of the contributions to the issue. While the articles in this issue are organised around the three core themes of conviviality, conflict, and improvisation, we argue for the entanglements of each within the everyday life of public spaces.
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Camilleri, Frank. "Hospitality and the Ethics of Improvisation in the Work of Ingemar Lindh." New Theatre Quarterly 24, no. 3 (August 2008): 246–59. http://dx.doi.org/10.1017/s0266464x08000304.
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Ingemar Lindh's work on the principles of collective improvisation has crucial implications for the history of twentieth-century laboratory theatre. His early work with Étienne Decroux and Jerzy Grotowski contributed to the development of a unique practice that resists directorial montage, fixed scores, and choreography; and the ethical dimension that accompanies Lindh's research on collective improvisation is illuminating for a more holistic understanding of the technical and aesthetic considerations in theatre. In this article, Frank Camilleri discusses some of the key aspects of this dimension, notably the dynamics of hospitality and encounter that inform Lindh's approach and the question of responsibility in the actor's work. Frank Camilleri is Lecturer in Drama and Theatre Studies at the University of Kent. From 2004 to 2008 he was Academic Coordinator of Theatre Studies at the University of Malta. He is also Artistic Director of Icarus Performance Project – an ongoing research laboratory that investigates the intermediary space between training and performance processes. Camilleri's work with Lindh in the mid-1990s was instrumental for the development of this research practice.
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Jordan, Peter E. R. "Second Language Acquisition And Linguistic Freedom Through Drama." English Review: Journal of English Education 4, no. 1 (December 1, 2015): 15. http://dx.doi.org/10.25134/erjee.v4i1.312.
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The important part played by drama in second language acquisition has long been appreciated. An active and inter-active teaching environment facilitates learning in a number of ways, by motivating and sustaining attention, as well as offering a secure environment for experimentation. Drama offers students a pro-active approach to learning, promoting a collective feeling of being in a shared enterprise. This paper discusses how drama can make a significant contribution to second language acquisition. In particular, I focus on the techniques of the Italian Commedia dell’Arte, the first truly professional theatre form to emerge in Europe in the mid-sixteenth century. Its core elements of improvisation and mask are highly effective tools in language learning, empowering students and allowing them to take ownership of the unfamiliar. Improvisation provides a dramatically engaging forum for experimentation that can help to overcome cognitive blocks and prioritise communication as the ultimate imperative. Masks which leave the mouth free for speech can help students overcome the natural inhibitions that often come with attempts to express oneself in an unfamiliar linguistic code.Keywords: language acquisition, drama, improvisation, mask
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Bernsen, Rachel. "Movement Improvisation and Somatic Research: Entwined Practices of Freedom." Journal of Speculative Philosophy 36, no. 4 (November 1, 2022): 417–35. http://dx.doi.org/10.5325/jspecphil.36.4.0417.
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ABSTRACT This article looks at how the practice of dance improvisation and somatic movement modalities inform and transform our experience of being in our bodies (via embodied knowledge, kinaesthetic awareness). In both individual and collective practice, these modalities offer alternative means for engaging with ourselves and others that allows us to transcend individual and social constraints within certain conditions. I discuss these practices as an ongoing process or state of freedom in the performative space, in daily “non-performative” life, in the many spaces in-between, and the conditions necessary to thrive.
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Camilleri, Frank. "Making Visible the Invisible: Ingemar Lindh's Practice of Collective Improvisation and Étienne Decroux." Contemporary Theatre Review 23, no. 3 (August 2013): 390–402. http://dx.doi.org/10.1080/10486801.2013.806314.
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Camilleri, Frank. "Of Crossroads and Undercurrents: Ingemar Lindh's Practice of Collective Improvisation and Jerzy Grotowski." New Theatre Quarterly 27, no. 4 (November 2011): 299–312. http://dx.doi.org/10.1017/s0266464x11000637.
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In this article Frank Camilleri discusses the historical and professional links between Ingemar Lindh and Jerzy Grotowski, with a specific focus on the nature and implications of their separate work on physical action. Lindh's practice, particularly his research on the ‘disinterested act’, is read in the context of Grotowski's ‘doing’ in Art as Vehicle. The individual work of the two practitioners on vocal and vibration techniques is seen as integral to their research on physical action. Frank Camilleri is Senior Lecturer in Drama and Theatre Studies at the University of Kent and Artistic Director of Icarus Performance Project (Malta). He served as Academic Coordinator of Theatre Studies at the University of Malta from 2004 to 2008, and in 2007 co-founded Icarus Publishing Enterprise with Odin Teatret and the Grotowski Institute.
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Zheng, Yingqin, Will Venters, and Tony Cornford. "Collective agility, paradox and organizational improvisation: the development of a particle physics grid." Information Systems Journal 21, no. 4 (September 27, 2010): 303–33. http://dx.doi.org/10.1111/j.1365-2575.2010.00360.x.
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