Relevant bibliographies by topics / Improvisation (musik)

Academic literature on the topic 'Improvisation (musik)'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Improvisation (musik)"

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Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.

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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Körber, Annegret. "Improvisation - Begegnungen in Psychoanalyse und Musik." Musiktherapeutische Umschau 33, no. 1 (March 2012): 74–75. http://dx.doi.org/10.13109/muum.2012.33.1.74.

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Sell, Matthias. "Ästhetische Erfahrung in der Musik und humanistische transaktionsanalytische Psychotherapie." Musik-, Tanz- und Kunsttherapie 25, no. 2 (June 3, 2014): 67–80. http://dx.doi.org/10.1026/0933-6885/a000179.

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Es wird die ästhetische Erfahrung als eine gemeinsam ko-kreativ hergestellte, ko-präsente Erfahrung von Künstler, Kunstwerk und Betrachter oder Rezipient beschrieben. Kunst als ästhetische Erfahrung wird als eine Schwellenerfahrung dargestellt. Anhand von verschiedenen Kunstwerken wird die Schwellensituation der ästhetischen Erfahrung erfasst und historischen Werken ebenso wie postmodernen zugeordnet. Die Musik wird als ästhetische Erfahrung speziell in der Improvisation vorgestellt. Ebenso wird gezeigt, dass im psychotherapeutischen Prozess stets eine Improvisation auch als Brückenerfahrung vorhanden ist, in der sich ebenfalls eine wechselseitige Improvisation eröffnet, wobei dies unterschiedliche Standpunkte und Blickweisen auf Gleichheiten oder Unterschiede der Erfahrung von Kunst eröffnet.
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Sadguna, I. Gde Made Indra, Kadek Dimas Mahardika, and I. Nyoman Sudiana. "Musik Eksperimental: Angkep Wilang." PROMUSIKA 11, no. 1 (April 11, 2023): 10–18. http://dx.doi.org/10.24821/promusika.v11i1.8823.

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Musik eksperimental sering dikatakan sebagai musik kontemporer atau musik yang berbeda dari konvensi musik tradisional. Perbedaannya, dalam musik eksperimental mengedepankan pengalaman auditif yang ‘tidak biasa’. Hal tersebut bisa dilihat dari bermacam elemen, seperti dari pemilihan alat, cara memainkan alat yang non-konvensional sehingga menghasilkan timbre yang tidak lazim, serta pola garap musik yang memfokuskan pada eksplorasi bunyidalam pembangun suara sehingga menghasilkan output yang kadangkala tidak familiar di telinga. Berpijak dari penjelasan mengenai musik eksperimental tersebut, timbul ketertarikan penulis untuk menciptakan sebuah karya musik kontemporer dengan mengadopsi salah satu rumus/sistem kerja matematika yaitu pencarian KPK (Kelipatan persekutuan terkecil), dengan menggunakan metode pohon faktor (faktorisasi prima) sebagai cara kerja dalam penciptaan karya musik eksperimental yang berjudul Angkep Wilang. Formulasi serta cara kerja aritmatika ini penulis transformasikan ke dalam media ansambel gamelan Bali, dengan memadukan dua jenis laras yang terdapat pada gamelan Bali yaitu laras pelog dan laras slendro. Jenis gamelan yang digunakan sebagai perwakilan dari laras pelog adalah Semar Pagulingan Saih Pitu, sedangkan untuk laras sle­ndro menggunakan gamelan Angklung Saih Lima. Metode penciptaan karya yang digunakan dalam komposisi musik ini mengacu pada konsep kekaryaan yang dikemukakan oleh Alma M. Hawkins,yaitu exploration, improvisation, dan forming.AbstractExperimental Music: Angkep Wilang. Experimental music is often said to be contemporary music or music that is different from traditional music conventions. The difference is that experimental music puts forward an 'unusual' auditive experience. This can be seen from various elements, such as the selection of instruments, unconventional ways of playing instruments that produce unusual timbres, and patterns of musical compositions that focus on sound exploration in sound construction to produce output that is sometimes unfamiliar to the ear. Based on this explanation of experimental music, the author's interest arose in creating a contemporary piece of music by adopting one of the mathematical formulas/work systems, namely the search for the LCM (least common multiple), using the factor tree method (prime factorisation) as a way of working in creation. An experimental piece of music is entitled Angkep Wilang. The writer transforms the formulation and the practice of working this arithmetic into a Balinese gamelan ensemble medium by combining the two types of tunings found in Balinese gamelan, namely the pelog tunings and the slendro tunings. The kind of gamelan used to represent the pelog tunings is Semar Pagulingan Saih Pitu, while for the slendro tunings, the gamelan Angklung Saih Lima is used. The numbers used in the search are 28 and 20; these two numbers are obtained through the media used to realise the concepts that have been designed. The work creation method used in this musical composition refers to the creative idea put forward by Alma M. Hawkins, namely exploration, improvisation, and forming.Keywords: Angkep Wilang; Experimental; LCM
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Gusstu Da’a, Ida Bagus Putu Da’a Mahadita, and Ni Wayan Masyuni Sujayanthi. "Experimental Music Patri | Musik Eksperimental Patri." GHURNITA: Jurnal Seni Karawitan 3, no. 2 (June 13, 2023): 153–58. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.1182.

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Karya musik Patri mengangkat ide penciptaan yang lahir dari pengalaman empiris penulis dalam memainkan instrument reong sejak menimba ilmu di SMP Negeri 1 Tampaksiring.Karya ini menonjolkan pengolahan dari kekayaan warna suara yang mampu dihasilkan instrumen reong dan daya kreativitas penulis serta daya tafsir musik masa kini. Adapun tujuannya untuk memberikan inspirasi bagi masyarakat bahwa satu pencon instrumen reong dapat menghasilkan warna suara yang beragam. Metode yang digunakan dalam proses penciptaan karya musik patri, adalah metode dari Alma M. Hawkins, yang terdiri dari tahap penjajagan (exsploration), percobaan (improvisation), dan pembentukan (forming) dari ketiga metode yang digunakan dalam proses penciptaan karya ini mampu menghasilkan sebuah karya musik eksperimental yang menggunakan media ungkap lima jenis instrumen reong dan tiga jenis alat pukul (panggul) yang memiliki karakter berbeda-beda. Karya Patri memakai struktur tri angga, yaitu kawitan/awalan (bagaian I), pengawak/isi (bagaian II), pengecet/penutup (bagaian III), yang disetiap bagian I dan II memiliki tiga motif yang berbeda-beda, sedangkan pada bagian III memiliki satu motif yang sama dengan meteran bar yang panjang. Terciptanya karya musik patri ini diharapkan dapat memberikan motivasi bagi generasi muda untu berkarya yang tidak hanya mengolah pola-pola tradisi tetapi yang mampu mengembangkan pola tradisi.
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Diederichsen, Diedrich. "Horde als sozialmusikalische Aufgabe." Die Musikforschung 57, no. 3 (September 22, 2021): 249–56. http://dx.doi.org/10.52412/mf.2004.h3.677.

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Anlass des Textes, die Frage noch mal zu stellen: "Was will die Improvisation?" ist die Entwicklung, dass es wieder Bands, Ensembles und Kollektive gibt, für die die Improvisation auch ethisch, wenn nicht gar politisch mit Lebensformen verbunden ist. Zunächst will die freie Improvisation zwei Dinge: zum einen die Annullierung jeglicher musikalischer Vorgaben aus musikalischen Gründen. Die moderne oder modernistische Ablehnung von Regeln in Bezug auf Tonalität, Rhythmik, Form, Format, Instrumentenbehandlung, etc. war die eine Seite auch der freien Improvisation. Das andere aber, was sie will, ist die Unvorhersehbarkeit, die Abwesenheit eines Plans: Das war mit einem großen Teil neuer Musik, für die Fortschritt ja oft gerade in der höheren Genauigkeit bei der Bestimmung musikalischer Parameter bestand, nicht zu haben.
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Kluck, Steffen. "Timo Dresenkamp: Musik, Komposition, Improvisation. Grundbegriffe der Musikphilosophie." Philosophischer Literaturanzeiger 74, no. 2 (June 15, 2021): 172–81. http://dx.doi.org/10.3196/2194584519742122.

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Anggayanto, Iketut yogi, and Tri Haryanto. "Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi”." GHURNITA: Jurnal Seni Karawitan 1, no. 3 (July 3, 2023): 161. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i3.358.

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Reboisasi adalah karya musik yang terinspirasi dari lingkungan sekitar yang dahulunya asri hingga terjadinya penebangan pohon secara liar, serta berkeinginan untuk mencoba menanam Kembali. Kary aini menggunakan media ungkap Gender Wayang sebagai instrumen pokok serta penambahan empat buah instrumen suling dan satu tungguh Gong Pulu sebagai instrumen pendukung. Reboisasi merupakan komposisi musik inovatif yang cenderung mengungkap ide-ide atau gagasan baru walaupun masih berpedoman dengan unsur-unsur tradisi yang ada. Dalam penggunaan panggul sebagai alat pemukul karya Reboisasi menggunakan satu panggul yang memiliki dua fungsi secara bersamaan, yaitu penata memodifikasi panggul gender pada bagian kekembangan panggul dengan menambahkan karet pada permukaannya yang membentuk setengah lingkaran. Secara Teknik bermain Gender memadukan dua style yang berbeda antara Sukawati dan Kayumas dengan tujuan untuk mencari nuansa suara yang berbeda. Metode penciptaan yang dipergunakan menggunakan metode yang dikembangkan oleh Alma Hawkins dengan tiga tahapan dalam berkarya, yaitu tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukaan (Forming). Karya ini didukung oleh 9 (Sembilan) orang penabuh dengan durasi waktu 11 menit
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Ardi, Ardi Gunawan, and Santosa Hendra. "Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur”." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (August 25, 2023): 295–305. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2072.

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Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
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Sudirana, I. Wayan. "Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 1. http://dx.doi.org/10.31091/jomsti.v1i1.502.

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ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer’s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer’s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.Keywords: improvisation, drumming, kendang, gong kebyar. ABSTRAKGong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali. Kata kunci: improvisasi, drum, kendang, gong kebyar.
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Dissertations / Theses on the topic "Improvisation (musik)"

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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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Lindvall, William. "Improvisation genom riktat lyssnande." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3127.

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Något jag funderat över mycket när jag själv som musiker spelat friare improviserad musik är hur man kan skapa olika tillvägagångssätt för att ta sig an sådan musik, även som nybörjare inom området. Jag har även tidigare jobbat med ensembler där jag behövt lära ut enklare förhållningssätt till improviserad musik och det har ofta gett goda resultat. Detta är högst aktuellt då den ensemble jag nu skrivit för bestod av musiker med varierande improvisationsvana och tanken har varit att alla på något sätt ska ställas inför improvisatoriska tillfällen under styckets gång. Den musik jag skrivit och valt att presentera i denna uppsats innehåller helt noterat, helt improviserat och kompnoterat material (vagare notation). Det jag syftar på med kompnotation kan exempelvis vara enklare genrerelaterade instruktioner som indikerar stiltypiskt ackompanjemang, till exempel när trummorna får instruktionen “Ballad, brushes” syftar det på ett vanligt balladkomp med vispar men lämnar det även öppet för tolkning och till viss del improvisation. En faktor musikerna dock inte har kontroll över är styckets storform då jag valt att själv styra detta i kompositionsprocessen - ett beslut jag tagit då detta leder till intressantare resultat än öppnare/friare improviserade former och för att det blir lättare att förhålla sig till för de musiker som inte är vana vid att improvisera.

Stycke: Constant Curve

Kompositör: William Lindvall

Musiker:

Trummor - Jonathan Leidecker

Trumpet/Flügelhorn - Joosua Sarikoski

Trumpet - Emma Granstam

Trombon - Elias Ukkonen Widding

Altsaxofon - Sebastian Jonsson

Tenorsaxofon - Björn Bäckström

Horn - Emil Engström

Basklarinett - Astrid le Clercq

Basklarinett - Daniel Gahrton 

Kontraforte - Gabriella Vargas Karlsson

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Olofson, Olof. "Pedagogiska metoder för improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2520.

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Karlsson, Andreas. "Jag är livrädd... : En studie i att avdramatisera improvisation." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-57976.

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Björk, Anders. "Lösa boliner : Att Komponera med improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2745.

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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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Hofman-Bang, Amanda. "Improvisation och klassisk musik : Att hitta in i musiken genom omprovisation." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86518.

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Ekberg, Love. "Dysforisk gestaltning : En studie att genom fri vokal improvisation gestalta könsdysfori." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86529.

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Feisst, Sabine. "Der Begriff Improvisation in der neuen Musik /." Sinzig : Stduio, 1997. http://catalogue.bnf.fr/ark:/12148/cb39996111d.

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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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Books on the topic "Improvisation (musik)"

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1930-, Nettl Bruno, and Russell Melinda, eds. In the course of performance: Studies in the world of musical improvisation. Chicago: University of Chicago Press, 1998.

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Tandberg, Svein Erik. Imagination, form, movement and sound: Studies in musical improvisation. Göteborg: Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2008.

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Aspekte der freien Improvisation in der Musik. Hofheim: Wolke, 2011.

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Feisst, Sabine. Der Begriff 'Improvisation' in der neuen Musik. Sinzig: Studio, 1997.

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Noglik, Bert. Klangspuren: Wege improvisierter Musik. Berlin: Verlag Neue Musik, 1990.

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Noglik, Bert. Klangspuren: Wege improvisierter Musik. Frankfurt am Main: Fischer-Taschenbuch-Verl., 1992.

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Lilot, Hegi, ed. Improvisation und Musiktherapie: Möglichkeiten und Wirkungen von freier Musik. Paderborn: Junfermann-Verlag, 1986.

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Hegi, Fritz. Übergänge zwischen Sprache und Musik: Die Wirkungskomponenten der Musiktherapie. Paderborn: Junfermann-Verlag, 1998.

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Jean-Pierre, Reinle, and Werkstatt für Improvisierte Musik, eds. "Your own voice": Ein Kaleidoskop von improvisierter Musik. Zürich: Chronos, 2001.

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Lundberg, Dan. Persikoträdgårdanas musik: En studie av modal improvisation i turkisk folk- och populärmusik baserad på improvisationer av Ziya Aytekin. Stockholm: Stockholms universitet, 1994.

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Book chapters on the topic "Improvisation (musik)"

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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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Erhardt, Martin. "Historische Improvisation heute." In Alte Musik heute, 124–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-66600-5_9.

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Greve, Martin. "Die Kunst der Improvisation." In Die Musik der imaginären Türkei, 83–182. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65271-8_2.

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Vuust, Peter, and Morten L. Kringelbach. "Music Improvisation." In The Routledge Companion to Music Cognition, 265–75. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-22.

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Kharatyan, Mariam. "7. Score-Based Learning and Improvisation in Classical Music Performance." In Teaching Music Performance in Higher Education, 181–94. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.09.

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This chapter reflects on the author’s artistic path as a classical pianist and her experiences within the artistic research projects Armenian Fingerprints (Kharatyan, 2019) and the ongoing project Armenian Crossroads, the latter project involving music performance students from the Department of Classical Music and Music Education at the University of Agder. With these students, the Armenian Crossroads project explored how the interpretation of scored music can stretch beyond the limitations of Werktreue, by experimenting with co-create approaches and collaborative music making through improvisation. It is argued that the impact of Werktreue on the teaching and learning of music performance of classical music in most of HMEI’s curricula has strongly suppressed improvisational practices and limited the scope for creativity and unconventional interpretations. The author seeks to challenge the norms in higher music education, and describes two artistic projects that explore new methods, seeking to re-introduce improvisation in classical music performance education. Drawing on interviews with the participating students, the chapter brings forth how students found that the improvisation sessions had (i) stimulated musical creativity; (ii) provided broader perspectives on music performance; (iii) promoted listening and interaction (iv) demanded that each performer accept their vulnerability; (v) provided new musical insights; (vi) increased focus and sense of presence. In conclusion, the chapter proposes that by implementing improvisation and including the students in artistic research projects in performance education, novel and creative approaches to the teaching and learning of musical interpretation can be created.
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Bailey, Derek. "Classroom improvisation." In Teaching Music, 227–32. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003419495-25.

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Rose, Simon, Lena Czerniawska, Emese Csornai, and Viola Yip. "Light, music and improvisation." In Relational Improvisation, 206–22. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197-11.

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Rose, Simon. "The performance of improvised music." In Relational Improvisation, 15–32. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197-2.

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Montelione, Joseph. "Liturgical Improvisation." In Forging Pathways to Improvise Music, 158–74. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003341857-14.

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Rose, Simon, and Andrew Wass. "A phenomenology of improvisation in dance and music." In Relational Improvisation, 124–47. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197-7.

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Conference papers on the topic "Improvisation (musik)"

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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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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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Corintha, Isabela, and Giordano Cabral. "The 4E‘s Model of Enactivism through Improvisation within DMIs." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19441.

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This paper describes how a theoretical framework focused on the 4E‘s model which describe the mind as fundamentally: embodied, embedded, extended and enactive, within the paradigm of enactive music cognition can contribute to the design of Digital Music Instruments (DMIs). From an epistemological perspective, we discuss improvisation within the Western academic music culture through two examples of DMIs created to improvise in a MIDI keyboard. We argue the 4 E‘s model orientation revealing the fundamentally nature of the embodied musical mind. Ethical and practical possibilities for an enactive music cognition related to improvisation in the context of the skills and needs of 21st are suggested with the goal of helping DMIs designers and musicians to develop approaches based in possibility, imagination, and relationality, rather than in conformity to standardized practices and conventional music pedagogical purposes. Finally, we present some concrete cases of DMIs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
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Michalec, Lukasz, and David A Banks. "Information Systems Development Methodologies and all that Jazz." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.

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This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.
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Adu-Gilmore, Leila. "Critical Sonic Practice: Intersectional approaches to music technology, improvisation, theory and composition." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/criticalsonicpractice.

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Cabrera, Daniel Antonio Milán, and Yudi Sukmayadi. "An Introduction to Free Improvisation Music Through YouTube." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.062.

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Bačlija Sušić, Blaženka, Katarina Habe, and Jasna Kudek Mirošević. "THE ROLE OF IMPROVISATION IN HIGHER MUSIC EDUCATION." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1120.

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Kaliakatsos-Papakostas, M. A., A. Floros, and M. N. Vrahatis. "Intelligent Real-Time Music Accompaniment for Constraint-Free Improvisation." In 2012 IEEE 24th International Conference on Tools with Artificial Intelligence (ICTAI 2012). IEEE, 2012. http://dx.doi.org/10.1109/ictai.2012.67.

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Grollmisch, Sascha, Christian Dittmar, and Gabriel Gatzsche. "Concept, implementation and evaluation of an improvisation based music video game." In 2009 International IEEE Consumer Electronics Society's Games Innovations Conference (ICE-GIC 2009). IEEE, 2009. http://dx.doi.org/10.1109/icegic.2009.5293599.

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"On the Application and Significance of Improvisation in Music Teaching Activities." In 2020 International Conference on Educational Training and Educational Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000955.

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Reports on the topic "Improvisation (musik)"

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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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