Dissertations / Theses on the topic 'Improvisation'
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Fahlén, Martin. "Improvisation i musikundervisning : Musikpedagogers upplevelse av improvisation." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-147413.
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Syftet med studien är att belysa musikpedagogers upplevelser av improvisation i sinundervisning, samt hur de arbetar med improvisation i pedagogiska situationer.Utgångspunkten i studien var de möjligheter som finns med improvisation som strategi förlärande och de tankar som förekommer huruvida improvisationen kräver någraförkunskaper eller ej.För att nå ämnets syfte har kvalitativa narrativa intervjuer genomförts med sexinformanter som är verksamma musikpedagoger. De utvalda pedagogerna arbetar medimprovisation främst i gymnasieskolan men även i kulturskolan. Studien riktar sig varkentill något specifikt instrument eller specifik genre. Resultatet presenteras i form av tioteman: Att erhålla frihet; Att erfara vardaglig instinkt; Att uttrycka sig idiomatiskt; Attutgå från den musikaliska verktygslådan; Att behärska musikens hantverk; Att hindras avsjälvkritik och rädsla; Att vara spontan; Att greppa improvisationens värld; Att upplevagenom lyssning; Att följa till kunskap. Dessa teman skildrar innebörder av pedagogernasupplevelser av improvisation i undervisning. Resultatet reflekteras över med hjälp avbland annat Stenströms (2009) begrepp fri/idiomatisk improvisation och hur den kankopplas till genrekännedom; Nachmanovitch (2010) spirituella syn av improvisation;Berkowitz (2014) syn av genreorienterade improvisation; samt von Wachenfeldts (2015)avpassning av den mimetiska processen.
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Waern, Peder. "Improvisation i fokus : övning av improvisation i jazzmusik." Thesis, Kungl. Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1121.
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Pierce, John Michael. "Intuitive improvisation." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328197897.
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Abubakr, Mukryan. "Maqam - orientalisk improvisation : att utforska maqam-baserad improvisation på solocello." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4234.
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Alatalo, Elina. "Att spela en improvisation : C. Tournemires improvisation över Victimae Paschali." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2463.
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Denna uppsats handlar om Charles Tournemires (1870-1939) improvisation från 1930 över den gregorianska sekvensen Victimae Paschali. Improvisationen nedtecknades senare av Maurice Duruflé. Sekvensen återfinns i den svenska psalmboken från 1986 där den sjungs som en växelsång mellan kör och församling. Uppsatsen behandlar frågor gällande komposition och improvisation och den eventuella problematiken som kan uppstå i nedtecknandet av en annan musikers verk. Vad händer när man spelar musik som var menat att finnas en gång, där det framgått att upphovsmannen inte velat få den transkriberad? Hur mycket hänsyn till notbilden tar musikern när denne vet att det är en improvisation, gentemot när det rör sig om en komposition?Konsertprogram, examenskonsert:
J.S Bach: Komm, heiliger Geist, Herre Gott (BWV 651)
D. Buxtehude: Toccata d-moll (BuxWv 155)
M. Reger: Melodia (Op 59 no 11)
C. Tournemire: ur Cinq improvisation: Improvisation sur le Victimae Paschali
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Dyson, Kathy. "Learning jazz improvisation." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3627/.
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The process of learning jazz improvisation is investigated in an exploratory way drawing on schema theory as a possible framework, from both a theoretical and a practical perspective. A schema is considered to be an abstract framework in the mind that both structures and is structured by experience. In this thesis, schema theory relating to a number of disciplines, is explained indetail, focusing on cognitive and motor elements in order to relate these processes to jazz improvisation and thus to provide a theoretical model. The model in turn is used to investigate how conceptual knowledge may be abstracted and generalised; how motor skill in musical improvisation may be developed; how cohesion in improvised lines may be generated; how multi-modal aspects of the skill may be integrated; how novel ideas may occur; how the individual voice is created and how improvised ideas may be communicated. This schema theory for jazz improvisation provides the theoretical ground from which a series of educational workshops (involving both groups and- individual musicians), on jazz improvisation learning was guided, observed and interrogated by the author as investigator in collaboration with the participants. A qualitative research methodology is used to collect and then analyse data from the workshops. Evidence from these practical investigations demonstrates the ability for musicians (mainly classically trained instrumentalists), untrained in jazz or improvisation to develop improvisation skills in a naturalistic and holistic manner, which is consistent with a theoretical account of schema theory. The workshop teaching also reveals the value of singing to improvisation development and the recreative/selective nature of memory. The findings, whilst considered speculative and work in progress have wide ranging implications for understanding dynamic adaptive skill and for educational practice, specifically, how knowledge of the schema might help teachers striving to teach music improvisation.
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Riethmüller, Albrecht. "Thesen über Improvisation." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36807.
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Stenström, Harald. "Free ensemble improvisation /." Göteborg : Faculty of Fine, Applied and Performing Arts, Academy of Music and Drama, University of Gothenburg, 2009. http://hdl.handle.net/2077/20293.
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Weidner, Raymond Frank. "The improvisational techniques of Charles Tournemire as extracted from his five reconstructed organ improvisations /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122048d.
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Bergman, Anders. "Improvisation och gehör för instrumentalister. En litteraturstudie av läromedel om vokal improvisation." Thesis, Kungl. Musikhögskolan, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-857.
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Burchman, Eon Kriya. "A dialogue on improvisation, space and melody| Larry Koonse's approach to improvisation." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591592.
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This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn.
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Kim, Haejin. "Organ Improvisation for Church Services: A Survey of Improvisation Methods from 1900." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314114572.
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Wood, Colin. "Improvisation Methods: A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555578371828511.
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White, Matthew S. "Visualization in Jazz Improvisation." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/561.
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Three prominent jazz trumpeters, who cite visual experiences of colors, shapes, contours, or transcription – elements not directly related to the aural information typically described in the improvisational process – were selected and interviewed for this study. Each subject was asked to describe their conscious processes and visual experiences while improvising, with emphasis on personal development, content and musical intent. Additionally, each subject selected a recorded improvised solo to be analyzed and discussed, comparing traditional musical analytical techniques to their corresponding visual experiences. Pedagogical elements related to jazz education and personal practice were also included.
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Bergström, Sebastian. "Improvisation i tidig instrumentalundervisning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1322.
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Uppsatsen handlar om förekomst av improvisation i tidig instrumentalundervisning på kultur- och musikskolor. Jag avsåg undersöka hur instrumentallärare beskriver sin undervisning, i vilken utsträckning de använder improvisation på lektionerna, genom att låta ett urval av lärare svara på frågor i en enkät. En annan del av arbetet bestod av att studera 25 pianoböcker som riktar sig till unga nybörjare. I dessa läromedel letade jag efter hur vanligt förekommande improvisationsmoment var. Det framgår av min enkät att användande av improvisation under lektionen varierar bland respondenterna. I min läromedelstudie visar det sig improvisationsmaterial vara relativt ovanligt och förekommer endast sporadiskt. Jag talar i uppsatsen också om hur improvisation kan integreras i instrumentalundervisningen med syfte att ge eleven rum för kreativitet och personlighet. Jag önskar att mitt arbete kan motivera lärare att låta sina elever improvisera på sina instrument för att öka spelglädjen och nå de positiva effekter improvisation kan ge.This study aims to elucidate the presence of improvisation in early instrumental teaching in culture- and music schools. Two issues will be explored within this context. Firstly I intended to examine how instrumental teachers describe their teaching and the extent to which they use improvisation in class, by inviting a selection of teachers to answer a questionnaire. The second aspect of the work consisted of the study of 25 piano books for young beginners. In these teaching materials the presence and frequency of improvisational moments were examined. The results suggested that the use of improvisation during lessons varies between respondents. Furthermore, the findings from the study of piano books for young beginners demonstrate that improvising material is relatively rare and occurs only sporadically. Suggestions are made for how improvisation can be integrated into instrumental teaching to encourage students to develop creativity and personality in their music. It is hoped that this study can encourage teachers to support their students to improvise on their instruments. This would likely increase students’ creativity and achieve positive effects associated with improvisation.
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Nilsson, Elin. "Improvisation i kulturskolans fiolundervisning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1657.
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Denna uppsats handlar om improvisation i fiolundervisning och om vad som avgör om fiollärare använder sig av improvisation i undervisningen eller ej. Tre fiollärare har intervjuats om sina tankar kring improvisation, om sin bakgrund och sin undervisning. Resultatet visar på att fiollärarnas bakgrund och de möjligheter de getts att improvisera som barn och ungdom har stor betydelse för om och hur de använder sig improvisation i sin undervisning.
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Wade, Brian Richard. "Improvisation and Other Stories." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275462143.
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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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Hargreaves, Wendy Louise. "Jazz Improvisation: Differentiating Vocalists." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366673.
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Improvising jazz musicians have long observed that vocalists differ from instrumentalists. A formal acknowledgement of differences has not yet pervaded jazz education. Little, if any, accommodation is made for the unique attributes of voice students. Instead singers are instructed to act more like instrumentalists in order to correct a perceived lag in vocal jazz improvisation achievement. The approach fails to recognise that giving vocalists and instrumentalists the same tuition is unlikely to produce the same results when fundamental differences exist prior to instruction. A thorough exploration of the vocalist’s characteristics must precede any logical attempt to address the imbalance in achievement outcome. Consequently, this thesis addressed the research question, “How do improvising jazz vocalists differ significantly from their instrumental counterparts?”
The research began by examining and collating the wealth of existing citations of differences found in literature. Thirty-seven perceived differentiations of vocalists were identified and used to provide a preliminary benchmark for the investigation. A two-phase mixed methods study was then designed to explore the nature of each differentiation. Phase one employed a quantitative, anonymous, online survey of 209 Australian jazz vocalists and instrumentalists, investigating their perceptions and experiences of jazz performance and education. The computer program PASW was used to conduct chi square analysis of the datum to determine statistically significant differences. In phase two, 22 qualitative interviews were conducted with Australian jazz vocal performers and/or jazz educators in Australian tertiary institutions. The computer program NVivo was used to assist the organisation of data for thematic analysis by the researcher. A side-by-side presentation of quantitative and qualitative data facilitated comparison and enabled clarity in identifying congruency in the findings. Discussion integrated results and extrapolated meaning.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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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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Fuxin, Johan. "Improvisation - en resa i nuet : En kvalitativ studie om hur improvisatörer talar om improvisation." Thesis, Örebro universitet, Musikhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-37551.
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Tuominen, Mikael. "Fri improvisation : Hur tänker musikerna?" Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-174139.
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Mikael Tuominen: Fri improvisation - hur tänker musikern? Uppsala Universitet, musikvetenskap vt -98. Syftet med uppsatsen är att undersöka musikestetiken bakom fri improvisation sedd ur musikerns synvinkel. Undersökningen är framför allt baserad på litteratur skriven av verksamma musiker inom genren och på artiklar som delvis bygger på intervjuer med musiker. I arbetet med texterna används hermeneutisk och komparativ metod. I uppsatsen visas att genrebegränsningen för fri improvisation ligger i metoden. Denna går ut på att musiken skapas i nuet. Till metoden hör att man är fri att kombinera vilka ljud man vill, däremot är ingen opåverkad av andra idiom eller traditioner. Det som skiljer fri improvisation från annan musik är att man använder ljudets och omständigheternas föränderlighet i metoden. Varje ljud har lika stort värde och detta kombinerat med metoden gör att man ofta prioriterar klangen före andra parametrar. Musikerns språk utvecklas genom dialog med andra musiker. I ögonblicket för improvisationen eftersträvar musikern ett tillstånd där intuitionen och lyssnandet är primärt. Målsättningen med den fria improvisationen är kommunikationen och det konstnärliga verket i sig.
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Frey, Connie Jean. "Improvisation, ? motions for living texts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32709.pdf.
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Welsh, Ryan Charles. "On improvisation, learning, and literacy." Thesis, The University of North Carolina at Charlotte, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3636175.
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Previously, improvisation has served as a term for describing a quality of the action taking place in classrooms between teachers and students. This project begins to theorize a way of understanding embodied literacies and scenes of learning through a lens of improvisation that enhances the description and better equips researchers to analyze this quality. This project synthesizes numerous research threads and theories from theater (Halpern, 1994, 2005; Johnstone, 1992; Spolin, 1999), anthropology (Holland, Lachicotte, Skinner, & Cain, 2003), psychology (Sawyer, 2011b; Vygotsky, 1978), and literary theory (Bakhtin, 1981) in an effort to provide a theory of improvisation that could be deployed in future qualitative studies or serve as a way for literacy teachers to think about their classrooms. A theory of improvisation enables qualitative researchers in the field of education to acquire a more thorough understanding of the way literacies are an improvised process in scenes of learning. This project is necessary because no such theory yet exists. As part of theorizing literacy and improvisation, I draw upon scenes from my own teaching and from theatrical improvisation. I analyze these moments to illustrate various theoretical premises such as instances of "yes, and-ing" that carry a scene of learning forward. This theory building and analysis amount to a first iteration of improv theory.
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Nielsen, Richard John. "Free improvisation, structure and game." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4167.
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How can a free improvisation be engendered? How can it be shaped to make it 'less free'? Through this project I have composed and developed materials to be used in group improvisations and influence the ways those improvisations proceed. I developed the material through an active and reflective process informed by my own musical development, existing improvisational and experimental compositional practice and the idea of 'game' or 'play'. This study presents an idea of 'game' or 'play' as having a quality that can be harnessed to achieve the aim of exploring creative practice scenarios. The resulting compositions are contextualised within existing musical practice in free improvisation, free jazz and compositions making use of various forms of improvisation as well as literature on areas such as game and play, freedom, response and collaboration. The work is shaped and informed by contextual research, in particular the theory of games and play which led to an understanding of the short compositions as 'atoms' which could be sequenced together to form larger 'structures'. The culmination of the compositional activity led to the development of two larger works which are holistic compositions, rather than several smaller works sequenced together. These compositions emerged through practical activity in tandem with contextual research. Documentation around the practical implementation and developmental processes culminate in an evaluation of the project.
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Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.
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Wassrin, Maria. "Musicking : Kreativ improvisation i förskolan." Licentiate thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-88733.
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This thesis draws on a video ethnography of music activities in a preschool setting in Sweden. It focuses on the participants’ co-construction of music activities and on their use of semiotic and material resources to constitute and sustain these activities. The videos document musicking (Small, 1998), that is, events involving a series of musical activities: work with instruments, dancing and movements, singing and listening. The data were collected during one year and includes 24 hours of video films (altogether 30 musicking events). The participants in the study are 1-3 years old children and their music pedagogues (preschool staff members who worked in the preschool on a daily basis). In terms of theoretical influence, the study is inspired by conversation analysis (Sacks, 1992), linguistic anthropology and work on aesthetic processes (Duranti & Black, 2012; Sawyer, 1997; 2003), as well as sociocultural theorizing (Lave, 1996; Rogoff, 1995; Wenger, 1998). The findings show that the individual young children (2-year-olds) engage in musicking, and that they also initiative various novel activities: such as conducting, dancing, singing, and exploring instruments. In these activities, mobility in the room is essential for the children`s access to instruments and other artifacts and for their possibility to participate in specific activities. The musicking events evolve as multimodal events, where different participation strategies are allowed and creative improvisations involve both musical and extra-musical actions. But a major finding is that the music pedagogues’ responsive uptake and creative improvisations are critical for the individual children`s ability to participate in specific activities and for bringing together the individual child and the group in collaborative musicking.Forskarskolan: Globalisering, literacy och utforskande lärprocesser: Förskolebarns språk, läsande, skrivande och matematiserande (GUL).
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Gifford, Toby. "Improvisation in interactive music systems." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.
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This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.
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Carvalho, Frederico Lyra De. "Improvisation, jazz et dialectique negative." Electronic Thesis or Diss., Université de Lille (2018-2021), 2021. http://www.theses.fr/2021LILUH030.
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Ce travail de thèse propose une interprétation philosophique de l’improvisation musicale, particulièrement celle du jazz, à travers la Dialectique négative telle qu’elle fut conçue par Theodor W. Adorno. L’hypothèse principale développée dans ce travail consisté à montrer qu’il est possible de penser l’improvisation de manière philosophique à travers un philosophe qui a touché, mais n’a pas développé le sujet. Nous voulons démontrer qu’il est possible de continuer à penser à partir d’Adorno en s’engageant dans sa demande peu clair d’ouverture pour des objets situés en dehors du corpus qu’il a lui-même traité. Notre engagement dans la Dialectique négative se réalise notamment à travers sa capacité de pousser les objets aux extrêmes, pointant simultanément vers leur désintégration et leur caractère d’utopie. Comme nous allons tenter de le montrer tout au long de ce travail, l’idée de se pencher sur l’improvisation découle d’une prise en compte du temps social qui émerge au sortir de la Seconde Guerre mondiale et des brèves intuitions qu’Adorno avait alors eues concernant la réémergence de cette pratique. La thèse comporte trois parties plus un avant-propos. La première partie se divise en deux chapitres. Le premier est une exposition de notre interprétation de la Dialectique négative insistant notamment sur sa double ouverture : aux objets et à son incomplétude. Le chapitre suivant propose une description de quelques aspects de l’improvisation à partir d’un travail conceptuel autour de notions adorniennes telles que l’informel, la logique de la désintégration, le modèle et la constellation. La deuxième partie se subdivise en trois chapitres dans lesquels nous discuterons de la problématique de l’improvisation au regard de trois notions clefs de la pensée d’Adorno : la forme, le temps et la liberté. Pour chaque chapitre, l’idée sera de discuter des apports et des limites de la pensée adornienne pour penser l’improvisation. Finalement, pour la dernière partie de la thèse, nous proposons une lecture de l’histoire du jazz sur la forme d’une philosophie de l’histoire d’inspiration adornienne. Nous tenterons de montrer que l’improvisation peut être considérée comme le moteur donnant l’impulsion à un processus de développement immanent du jazz qui démarre avec un moment moderniste et radical en 1945 avec Charlie Parker, et s’arrête sur de multiples impasses autour de 1975. L ́approche philosophique adornienne nous aidera à montrer que ce processus n’était pas simplement un changement successif de figures musicales, mais qu’il s’est constitué comme une constellation de ces figures musicales. Tout au long de ce travail, en plus du corpus adornien, nous discutons le corpus philosophique et musicologique spécifique du jazz et de l’improvisation, ainsi que des écrits des musiciens, notamment ceux de Steve Coleman et de Steve LacyThis thesis proposes a philosophical interpretation of musical improvisation, particularly jazz improvisation, through the Negative Dialectic as it was conceived by Theodor W. Adorno. The main hypothesis developed in this work is that it is possible to think philosophically about improvisation through a philosopher who touched on the subject but did not develop it. We want to show that one way to continue to think from Adorno is to engage with his demand for openness to objects outside the corpus he treated himself. Our engagement with the Negative Dialectic is notably through its capacity to push objects to extremes, pointing at the same time towards their disintegration and towards their utopian character. As we will try to show throughout this work, the idea of looking at improvisation stems from an awareness of the social time that emerged at the end of the Second World War and the brief intuitions that Adorno had at the time concerning the re-emergence of this practice.The thesis consists of three parts in addition to a foreword. The first part is divided into two chapters. The first chapter consists of an exposition of our interpretation of the Negative Dialectic, insisting on its double opening: both to objects and to incompleteness. The next chapter proposes a description of some aspects of improvisation based on an exploration of Adornian notions such as the informal, the logic of disintegration, the model and the constellation. The second part is subdivided into three chapters in which we discuss the problematic of improvisation with regard to three key notions in Adorno's thought: time, form and freedom. For each chapter, the objective will be to discuss both the contributions and limitations of Adorno's thought concerning each of the notions for thinking about improvisation. Finally, for the last part of the thesis, we propose a reading of the history of jazz in the form of an Adorno inspired philosophy of history. We will try to show that improvisation can be considered as the motor that gives impetus to a process of immanent development of jazz that starts with a modernist and radical moment in 1945 with Charlie Parker, and stops at multiple dead ends around 1975. The Adornian philosophical approach helps us to show that this process was not simply a successive change of musical figures but was constituted as a constellation of these figures. Throughout this work, in addition to the Adornian corpus, we discuss the specific philosophical and musicological corpus of jazz and improvisation, as well as the writings of musicians, notably Steve Coleman and Steve Lacy
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Widoff, Malin, and Kristin Axelsson. "Innovation genom Improvisation : Improvisation som ett verktyg för att skapa en organisationskultur som främjar innovation." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14284.
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För att en organisation ska kunna överleva i en tid som präglas av förändring och hård konkurrens, krävs en organisationskultur som främjar innovation. Många av de komponenter som litteratur inom innovationsområdet beskrivs som essentiella för just en sådan här kultur, återfinns också i improvisationsteater. Den här studien binder samman dessa två områden, både ur ett teoretiskt perspektiv och genom en praktisk, undersökande studie. Studiens hypotes var: ”Improvisationsteaterworkshops kan, av ett arbetslag, upplevas som ett fungerande verktyg till att på längre sikt kunna skapa en organisationskultur som främjar innovation.” För att kunna verifiera eller falsifiera hypotesen, genomfördes tre improvisationsteaterworkshops på ett företag där åtta deltagare på ett lekfullt och prestigelöst sätt fick ta del av hur improvisationsteater kan relateras till arbetslivet på olika sätt. Datainsamlingen skedde med hjälp av reflekterande dagböcker och intervjuer. Samtliga åtta deltagare ansåg att det de upplevt på längre sikt skulle kunna bidra till att skapa en organisationskultur som främjar innovation, och studiens hypotes kunde därigenom verifieras.
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Dimming, Mats. "Öva fri improvisation – går det? : En kvalitativ studie av professionella musikers övning i fri improvisation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26534.
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Studien syftar till att få djupare insikt i hur professionella musikers övning i fri improvisation kan se ut. I bakgrundsavsnittet ges en överblick av begreppen ”improvisation” och ”fri improvisation” och därefter följer en presentation av tidigare litteratur och forskning inom ämnesområdet. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation. Studiens datamaterial består av kvalitativa intervjuer med fyra professionella musiker inom fri improvisation. I resultatavsnittet beskrivs informanternas syn på improvisation, fri improvisation och frihet, deras redskap för övning samt deras användande av tillägnade färdigheter. Det framkommer att de intervjuade musikerna ser det som viktigt att öva mycket, att ha en egen metodik, att kunna koppla bort intellektet när de improviserar och att samla erfarenheter i en metaforisk ryggsäck. I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att ryggsäcksmetaforen är i linje med det sociokulturella perspektivet på lärande, att lärande sker ständigt. En slutsats är att en improvisation aldrig kan vara helt fri. En musikers frihet i improvisation skulle kunna beskrivas som att denne är fri till något, inte från något.This study aims to create deeper insight in how professional musicians practice free improvisation. The background chapter provides an overview of the concepts of “improvisation” and “free improvisation” and then followed by a presentation of previous research in the field. The theoretical basis for the study is the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with four professional improvising musicians. The results show the musician’s view of improvisation, free improvisation and freedom, their practicing tools and their use of acquired skills. It reveals that the interviewed musicians regard it important to practice a lot, to have a personal method, to be able to disconnect the intellect when improvising and to collect experiences in a “metaphorical backpack”. In the concluding discussion chapter the results is discussed in relation to the previous research and to the socio-cultural perspective on learning. A conclusion is that the backpack metaphor is in accordance with the socio-cultural perspective on learning and that learning happens constantly. Another conclusion is that an improvisation never can be completely free. A musician´s freedom in improvisation could be described as being free to something rather than from something.
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Marklund, Jens. "Utvecklingsarbete om Improvisation i musikämnet : Kan en lektionsserie i improvisation påverka eleverna att våga improvisera?" Thesis, Luleå tekniska universitet, Institutionen för hälsa, lärande och teknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-82969.
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Syftet med mitt utvecklingsarbete var att få svar på om en lektionsserie med improvisationsövningar kan påverka elever att våga improvisera. Studiens teoretiska utgångspunkt är det sociokulturella perspektivet. För att få inblick i det valda ämnet har jag genomfört en enkätundersökning. Studien har genomförts i en högstadieklass med 25 elever. Resultatet visar att elevers kunskap och erfarenheter av improvisation i musikämnet är liten. Det bidrar till att eleverna upplever det svårt att våga improvisera. Men efter lektionsserien påverkas elevernas erfarenhet av improvisationsmomentet på ett positivt sätt.
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
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Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.
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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet.This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.
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Leone, Ludovica <1983>. "Does improvisation lead to outcome deviation? A conceptual framework of improvisation, its antecedents and outcome deviation." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3687/1/Leone_Ludovica_tesi.pdf.
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Management and organization literature has extensively noticed the crucial role that improvisation assumes in organizations, both as a learning process (Miner, Bassoff & Moorman, 2001), a creative process (Fisher & Amabile, 2008), a capability (Vera & Crossan, 2005), and a personal disposition (Hmielesky & Corbett, 2006; 2008). My dissertation aims to contribute to the existing literature on improvisation, addressing two general research questions: 1) How does improvisation unfold at an individual level? 2) What are the potential antecedents and consequences of individual proclivity to improvise? This dissertation is based on a mixed methodology that allowed me to deal with these two general research questions and enabled a constant interaction between the theoretical framework and the empirical results. The selected empirical field is haute cuisine and the respondents are the executive chefs of the restaurants awarded by Michelin Guide in 2010 in Italy.
The qualitative section of the dissertation is based on the analysis of 26 inductive case studies and offers a multifaceted contribution. First, I describe how improvisation works both as a learning and creative process. Second, I introduce a new categorization of individual improvisational scenarios (demanded creative improvisation, problem solving improvisation, and pure creative improvisation). Third, I describe the differences between improvisation and other creative processes detected in the field (experimentation, brainstorming, trial and error through analytical procedure, trial and error, and imagination).
The quantitative inquiry is founded on a Structural Equation Model, which allowed me to test simultaneously the relationships between proclivity to improvise and its antecedents and consequences. In particular, using a newly developed scale to measure individual proclivity to improvise, I test the positive influence of industry experience, self-efficacy, and age on proclivity to improvise and the negative impact of proclivity to improvise on outcome deviation. Theoretical contributions and practical implications of the results are discussed.
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Leone, Ludovica <1983>. "Does improvisation lead to outcome deviation? A conceptual framework of improvisation, its antecedents and outcome deviation." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3687/.
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Management and organization literature has extensively noticed the crucial role that improvisation assumes in organizations, both as a learning process (Miner, Bassoff & Moorman, 2001), a creative process (Fisher & Amabile, 2008), a capability (Vera & Crossan, 2005), and a personal disposition (Hmielesky & Corbett, 2006; 2008). My dissertation aims to contribute to the existing literature on improvisation, addressing two general research questions: 1) How does improvisation unfold at an individual level? 2) What are the potential antecedents and consequences of individual proclivity to improvise? This dissertation is based on a mixed methodology that allowed me to deal with these two general research questions and enabled a constant interaction between the theoretical framework and the empirical results. The selected empirical field is haute cuisine and the respondents are the executive chefs of the restaurants awarded by Michelin Guide in 2010 in Italy.
The qualitative section of the dissertation is based on the analysis of 26 inductive case studies and offers a multifaceted contribution. First, I describe how improvisation works both as a learning and creative process. Second, I introduce a new categorization of individual improvisational scenarios (demanded creative improvisation, problem solving improvisation, and pure creative improvisation). Third, I describe the differences between improvisation and other creative processes detected in the field (experimentation, brainstorming, trial and error through analytical procedure, trial and error, and imagination).
The quantitative inquiry is founded on a Structural Equation Model, which allowed me to test simultaneously the relationships between proclivity to improvise and its antecedents and consequences. In particular, using a newly developed scale to measure individual proclivity to improvise, I test the positive influence of industry experience, self-efficacy, and age on proclivity to improvise and the negative impact of proclivity to improvise on outcome deviation. Theoretical contributions and practical implications of the results are discussed.
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Weymann, Eckhard. "Zwischentöne psychologische Untersuchungen zur musikalischen Improvisation /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=96614077X.
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Helin, Björn, Stefan Ek, and Tommy Volkevics. "Time Machine Computing for Media Improvisation." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14911.
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C3LOOPS is an application for DJs and VJs based on surface interaction. A system is said to be based on surface interaction if it presents content on a two dimensional, endless surface that a user navigates through zoom, pan and incremental text filtering where processing is tightly coupled with the content without breaking the workflow. C3LOOPS is designed to encourage improvisation and collaboration. During improvisation changes occur rapidly. Allowing navigation through time as well as the two spatial dimensions of an interaction surface the possibility of unlimited undo operations opens up. Time navigation enables a user to go back to any prior state and easily examine a state or revert to a state. This thesis explores two ways of designing an interface for time navigation on top of the surface interaction paradigm, both a timeline and a circular approach. Through design and user testing these are evaluated to examine their relative usability as well as which one is perceived to be “cooler”. Certain lessons are learned by testing such an interface on paper, including the difficulty of simulating surface interaction. The implementation of the idea involves the creation of a replacement database for the C3LOOPS-application; as well as the modification of existing code to add support for multiple surfaces and the ability to interact with them separately. The new surface represents navigation through time. The result of the thesis is the implementation of a timeline as well as the required functionality to support it.C3LOOPS är en applikation för DJ:s och VJ:s baserad på ytinteraktion. Ett system sägs vara baserat på ytinteraktion om det presenterar innehåll på en tvådimensionell, oändligt stor yta som navigeras med zoom, panorering och inkrementell textfiltrering där bearbetning sker i tät koppling med innehållet utan att bryta arbetsflödet. C3LOOPS ämnar att uppmuntra till improvisation samt kollaboration. Under improvisation kan många förändringar ske under kort tid. Genom att tillåta navigering i tid utöver ytans två spatiala dimensioner kan användaren få tillgång till en oändlig möjlighet att ångra förändringar. Tidsnavigation låter en användare navigera tillbaka till alla tidigare tillstånd i en applikation för att undersöka tillstånden eller återställa dem. Denna examensarbetesrapport utforskar två sätt att utforma ett tidsnavigationsgränssnitt som ett tillägg till ytinteraktionsparadigmen, en tidslinje och ett cirkulärt alternativ. Genom designarbete och användartester utvärderas de två gränssnitten för att undersöka deras användbarhet så väl som vilket användarna anser vara ”coolare”. Problem med att testa sådana gränssnitt på papper uppdagas, inklusive svårigheten att simulera ytinteraktion. Implementationen av idén involverar skapande av en ersättningsdatabas för applikationen C3LOOPS; så väl som modifiering av existerande kod för att lägga till stöd för multipla ytor och förmågan att interagera med dem separat. Den nya ytan används för navigation i tidsdimensionen. Resultatet av examensarbetet är implementationen av en tidslinje och tillhörande funktionalitet.
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Clauss, Greg. "Ficino's Musica Humana musico-astrological improvisation /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/109/.
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Sudirana, I. Wayan. "Kendang tunggal : Balinese solo drumming improvisation." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12466.
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The following thesis is an analytical investigation of Balinese solo drumming (kendang tunggal) in Balinese gamelan music. It is dealing with the solo drumming that is considered improvisational, in particular the styles that are used in the repertory of the gamelan Gong Kebyar. The analysis is culminated in chapter four with analysis of six selected recordings of influential Balinese master drummers, who represent different stages in the development of kebyar style, from its beginning to the present. The focus is on the way these drummers develop their own style or pupuh (drum patterns) within particular Balinese melodies and gong cycles. The term improvisation is carefully used, because the degree of freedom in such meters is often limited. The drummers often describe the way they play in these contexts as bebas (free), but in practice, many drummers usually do not use the opportunity to create spontaneous patterns at all, and instead recycle or reuse the patterns that they have practiced and create a new ordering of well-rehearsed stock phrases. Based on this idea, the basic analysis of solo drumming in two types of Balinese meter is introduced in chapter three that can help outsiders or beginner drummers to understand or at least to clarify how the kendang tunggal works with a certain degree of “limited improvisation” in Balinese gamelan gong kebyar music.
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Demir, Zafer. "Dengbêj Tradition : från inspiration till improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1502.
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Davidson, Neil. "Composition in improvisation : forms and otherwise." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2301/.
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This is a folio of compositions that interferes with composition and improvisation in practice and in theory. A resistance to theme and content is countered by proposing a very broad conception of form that brings into play anthropological and philosophical examples as well as a questioning of traditional musical forms. The pieces in general propose ways of composing and playing otherwise. The scores are interspersed with texts which engender relationships and patterns of thought pertinent to the workings of the pieces such that a critical position is articulated without resorting to longwinded argument. Audio recordings of the pieces are included at the rear of the document.
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Hodgson, Paul William. "Modelling cognition in creative musical improvisation." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.483664.
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Lewis, Carine. "The relationship between improvisation and cognition." Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/8890.
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“After the group had played [improvisation] game[s]…colours became brighter, people and spaces seem of a different size, focus is sharper. Our normal thinking dulls perception…” Keith Johnstone (1979, pg. 131) Improvisation is considered to be both the process and product of creativity. It involves the creation of new ideas, on the spur of the moment that are novel and unplanned. Spontaneity, the ability to do something on the spot with no prior preparation is seen as a key element of improvisation and distinction in relation to creativity. The process of improvisation involves thinking in different ways and as a result, could influence our thought processes. It is important to note here that while we are interested in the process of improvisation, it is only possible to measure this through the product. The product is therefore seen as a direct outcome of the process of thinking that occurs during improvisation. It has been suggested that improvisation could relate to cognitive processes (Karakelle, 2009; Schmidt, Goforth & Drew, 1975; Scott, Harris & Rothe, 2001). This program of research therefore aims to identify the cognitive changes in relation to the process of improvisation. This is measured by looking at cognitive tasks pre and post improvisation. Several studies were therefore conducted investigating the effects of improvisation on various cognitive abilities, with a focus on differences between divergent and convergent thinking; (i) the Effect of Verbal Improvisation on Mood, Creativity and Cognition; (ii) verbal improvisation in relation to divergent and convergent thinking; (iii) dance improvisation in relation to divergent and convergent thinking; (iv) Divergent thinking; Differences among expert and novice improvisers and (v) length of Treatment; Cognitive effects following a shorter improvisation treatment length. As a result of the above experiments, results were extended to a clinical sample of Parkinson’s disease. An extensive investigation was also carried out investigating the scoring of method of the Alternative Uses Task (AUT; Guilford, 1957b). Furthermore, the level of cognitive load as a result of improvisation was investigated by observing gesture in improvisation. Taken together, results showed that after a series of verbal improvisation activities, participants improved in scores of divergent thinking tasks. However, this was not observed in scores of convergent thinking tasks. Issues surrounding reliability of the scoring method of the AUT were also discussed. However, this did not affect the consistency of the results observed in this program of research. A theory of schemas was applied to the process of improvisation as a result of the cognitive changes that occured, such that improvisation helps people think in more original and flexible ways by improving access to schemas and working memory.
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Yagi, Naoko. "Towards a definition of performance improvisation." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/34666/.
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This thesis discusses the interconnection of 'performance' and 'improvisation', which, despite its long and established history, has always proved difficult to definitively pin down. My research question presupposes that 'performance' and 'improvisation' are neither completely separate nor completely interchangeable. I focus on the area where 'performance' and 'improvisation' overlap each other, which I call 'performance improvisation'. The thesis seeks to answer the question, 'What can I induce from materials focussed around the individual "creativities" that might serve to construct a prototypical explanation to define "performance improvisation"? '. The main chapters interpret and analyse materials written and published between the beginning of the twentieth century and the 1990s with particular emphasis on the so-called 'theatre' and 'dance' in North America. The concluding chapter proposes oppositional features of 'performance' and 'improvisation', stating that 'performance improvisation' is a dynamic intertwinement of those features, which manifests in each individual 'creativity'. The conclusion offers a benchmark for future attempts at defining 'performance improvisation'. A brief overview of the commedia dell'arte in Chapter 1 introduces the main chapters. Chapter 2 looks at the correlation of human body and mind. In Chapter 3, I discuss body and mind negotiating with and deviating from traditions and conventions. The scope of the discussion expands in Chapter 4, which considers the idea, or the concept, of 'performance' and 'improvisation' as seen by individuals. Chapter 5 looks at the audience's point of view in relation to the performer's point of view. The argument in those chapters is tested in Chapter 6 against case study materials that discuss highly experimental practices. Chapter 7 concludes the thesis, in which I answer the research question by way of proposing eight pairs of oppositional features that characterise 'performance' and 'improvisation'.
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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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Pinto, Waldir de Amorim. "Nico Assumpção and jazz bass improvisation." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1049.
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The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world.
Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance.
Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.
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Charrière, Patrick. "Improvisation au théâtre et matches d'improvisation." Bordeaux 3, 1990. http://www.theses.fr/1990BOR30034.
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A partir d'une recherche theorique sur les mecanismes de l'improvisation et de ses manifestations historiques dans l'espace francophone, l'objet de cette etude est une analyse des matches d'improvisation, forme nouvelle de spectacle nee au quebec en 1977. La premiere partie est consacree a montrer la necessite de l'improvisation dans la logique du vivant. Dynamique aleatoires, le hasard et l'imprevu se conjuguent sans cesse pour organiser la complexite et reduire les paradoxes. Contrairement au sens commun le plus repandu, on observe ainsi qu'improviser ne consiste pas a faire n'importe quoi mais a inventer dans l'urgence des solutions de survie. En bref, "on ne peut pas ne pas improviser". Dans la deuxieme partie on s'applique a relever les occurrences de l'improvisation dans le theatre francophone, aire de recherche choisie, du moyen-age a nos jours. On s'interroge ensuite sur le fait que pendant environ un siecle et demi, de la fin de la commedia dell'arte jusqu'ala naissance du theatre moderne, l'improvisation ait curieusement disparu de la scene, enfin cette etude debouche sur les matches d'improvisation qui presentent un double interet : operer la fusion entre sport et theatre et voir si les deux sont conciliables; installer entre la scene et la salle un reseau complexe et subtil de communication interactiveStarting from a theoretical research on the mechanisms of improvisation and itshistorical occurences in the francophone area, the object of the present dissertation is an analysis of improvisation matches, a new kind of performance which began in quebec in 1977. The first part aims at showing the necessity of improvisation in the logic of the living world. The problematic dynamics of chance and unforeseen events mix endlessly to organize complexity and reduce paradoxes. Contrary to the more ordinary form of common sense, it can be observed that improvising doesn't mean doing anything but inventing on-the-spot survival solutions. In short, "one is bound to improvise". In the second part, the aim is calling attention to examples of improvisation in francophone theatre, our area of research, from the middle ages to the present day. The question is then why was it that for almost a century and a half, from the end of the commedia dell'arte to the birth of modern theatre, improvisation curiously vanished from the stage. Finally, this dissertation truns to improvisation matches which offer a twofold interest: the fusion of sport and theatre and their
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Tumlinson, Charles D. (Charles David). "Theoretical Constructs of Jazz Improvisation Performance." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279169/.
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The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?
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Walton, Ashley M. S. "Music Improvisation: Spatiotemporal Patterns of Coordination." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1457619683.
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