Journal articles on the topic 'Improvisation'
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1
Reardon-Smith, Hannah, Louise Denson, and Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION." Tempo 74, no. 292 (March 6, 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani, and Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
3
Schirr, Bertram. "Improvisieren für mehr Beteiligung am Gottesdienst?" International Journal of Practical Theology 23, no. 2 (November 29, 2019): 242–56. http://dx.doi.org/10.1515/ijpt-2018-0042.
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Abstract Analyzing contemporary experiments in homiletical and liturgical improvisation shows fresh and exciting potential for more participation in worship. The use of Free Jazz as a paradigm for liturgical and homiletical practice is complimented by the model of Theatrical Improvisation. By rendering empirical improvisations in liturgy and preaching as interactions, a grid of participatory improvisational strategies is generated that can be usefully employed for the analysis and improvement of other pastoral practices such as pastoral care or ministerial training.
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Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study." Journal of Research in Music Education 56, no. 1 (April 2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.
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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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Alhussein, Hasnaa, Lynn Shehab, and Farook Hamzeh. "Improvisation in Construction Planning: An Agent-Based Simulation Approach." Buildings 12, no. 10 (October 5, 2022): 1608. http://dx.doi.org/10.3390/buildings12101608.
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Improvisation is the decision-making process addressing unexpected obstacles in a spontaneous but rational manner. Although undesirable, as it indicates deviation from plans, improvisation is unavoidable in construction to address issues related to unforeseen uncertainties. An adaptive planning system employing improvisation to react rapidly to unplanned events may therefore boost the performance in construction projects. Accordingly, this research aims to predict the outcomes of construction planning processes from an improvisational perspective by better understanding the dynamics of improvisation. It seeks to identify how different variations of improvisational parameters influence the improvisational outcome. This objective is achieved through an agent-based model used to simulate the improvisation practices at the level of planners interacting together. Parameters relating to planners, projects, and problems influencing each planner’s improvisational means are illustrated in the model. The model’s inputs were validated through data from large-sized projects. Linear regression models that predict the results of the improvisational practices were then developed through simulation experiments. Findings regarding the impacts of different types of improvisors on the improvisational outcomes are presented. The contribution of this study lies in enhancing the overall improvisational performance in construction planning to ultimately guide decision makers and planners to better handle uncertainties in projects.
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Vera, Dusya, and Mary Crossan. "Theatrical Improvisation: Lessons for Organizations." Organization Studies 25, no. 5 (June 2004): 727–49. http://dx.doi.org/10.1177/0170840604042412.
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This article uses the improvisational theatre metaphor to examine the performance implications of improvisational processes in firms. We recognize similarities and differences between the concepts of performance and success in both theatre and organizations, and extract three main lessons from improvisational theatre that can be applied to organizational improvisation. In the first lesson, we start by recognizing the equivocal and unpredictable nature of improvisation. The second lesson emphasizes that good improvisational theatre arises because its main focus, in contrast to the focus of firms, is more on the process of improvising and less on the outcomes of improvisation. Lastly, in the third lesson, we look at the theatre techniques of ‘agreement’, ‘awareness’, ‘use of ready-mades’, and ‘collaboration’, and translate them into concepts that are relevant for organizations in developing an improvisational capability.
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Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.
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The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
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Revzis, Inessa M. "About the Development of Improvisational Skills in the Pupils of Children’s Music Schools." ICONI, no. 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.
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A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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Cobussen, Marcel. "Improvising (with) sounds: A sonic postcard from Belgrade." New Sound, no. 50-2 (2017): 269–84. http://dx.doi.org/10.5937/newso1750269c.
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This impressionistic essay is indeed an attempt to record the thoughts I developed on improvisation while visiting different places in Belgrade, meeting various musicians who are living in this city, and reflecting on a few texts dealing with musical improvisation. In seven short meditations, seven "stops", I criticize the anthropocentric discourse around improvisation, formulate ideas about improvisation that try to overcome dichotomous constructions, and trace improvisational structures in sound art, rock music, contemporary composed music, and everyday listening.
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Gilmanov, Sergei A. "Psychological characteristics of abilities for musical improvisation." Yugra State University Bulletin 12, no. 1 (April 15, 2016): 116–23. http://dx.doi.org/10.17816/byusu2016121116-123.
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The article is devoted to the psychological characteristics of talent for musical improvisation. The author believes that the ability of musical improvisation grow out of general and special musical abilities, are formed and developed only in the improvisational activities based on the simultaneous integration and differentiation methods of presentation "semantic units" of improvisation. This improvisation goes to artistic image, in which there is "non-musical", socio-cultural content. The article presents data from several empirical studies of the author.
12
Yucha, C. B. "Understanding physiology by acting out concepts." Advances in Physiology Education 269, no. 6 (December 1995): S50. http://dx.doi.org/10.1152/advances.1995.269.6.s50.
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Typically, classes in anatomy and physiology are taught via lecture and visual aids. This seems to work well for students who are primarily auditory and visual learners but not for those who learn better through kinesthetic experiences. This is the first report describing the use of improvisation to act out physiological concepts within an anatomy and physiology course. Improvisational techniques encourage active participation and allow students to personally interact with and experience difficult concepts in the classroom. In this paper, sensory modality preferences for learning will be discussed briefly. Improvisational techniques will be described, and examples of improvisations useful to convey intricate physiological concepts will be provided. Last, student responses to the use of improvisational techniques in an anatomy and physiology course will be reported.
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Kysliak, Bohdan. "Improvisation in the educational space of contemporary bayan and accordion art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 180–96. http://dx.doi.org/10.34064/khnum1-69.08.
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Statement of the problem. The issue considered in the study lies in the lack of sufficient attention to improvisation in the educational space of contemporary bayan / accordion art. Achieving success in this field requires the ability to creatively and uniquely express musical ideas through improvisation. At the same time, currently, clear educational programs and methodological approaches aimed at developing improvisational skills in performers, including bayan / accordion players are not established. Objectives, methods, and novelty of the research. The purpose of this study is to highlight the role of improvisation in the education and development of accordion players in the modern educational context. The article is directed at determining the importance of improvisational skills, their impact on creativity, musical self-expression and professional qualities of musicians. It highlights modern approaches to teaching improvisation, analysis of its techniques and methods, as well as the use of improvisation as an important element of education in accordion art. When writing the article, the method of comparative analysis was used, with the help of which the ways of teaching improvisation were considered, as well as the method of modeling, which allows to indicate the main directions of the teaching improvisation on the bayan / accordion. Despite the wide coverage of various aspects of bayan-accordion playing in scientific sources, the art of improvisation on these instruments generally remains outside the attention of authors. This research proposes a new approach to teaching musicians improvisation, considering it as an essential component of musical education. Methodologies that combine traditional approaches and innovative teaching methods of improvisation are examined. Results and conclusion. Improvisation plays a significant role in the development of creative abilities and musical thinking of the performer, it contributes to the expansion of his possibilities to self-expression, the development of imagination and musical intuition, ensures his professional growth and productive communication with the audience. That is why systematic learning improvisation should become an integral part of the educational space of modern bayan / accordion art. The peculiarities of improvisation in bayan / accordion art are, in addition to the possibility of experimenting with various harmonic and melodic structures, the use of a wide range of sound production techniques and, accordingly, unusual timbre colors. The development of improvisational skills requires systematic practice, the use of special techniques and exercises. Educational approaches to teaching improvisation include its integration into the general curriculum, the creation of special courses and master classes, the use of a system of creative tasks with their gradual complexity, as well as the creation of a favorable psychological atmosphere for the development of creativity.
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S. Whalen, Peter, and David M. Boush. "Why, how and to what effect do firms deviate from their intended marketing plans?" European Journal of Marketing 48, no. 3/4 (April 8, 2014): 453–76. http://dx.doi.org/10.1108/ejm-09-2011-0466.
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Purpose – Very little is known about why, how and to what effect firms deviate from intended marketing plans. The aim of this paper is to extend the understanding of this phenomenon, post plan improvisation (PPI), and begin to identify and categorize such deviations along with their apparent causes and outcomes. Design/methodology/approach – Using the critical incident technique, 384 incidents of PPI were gathered and systematically classified from marketing planners (managers who use marketing planning software) on six different continents using an online survey. Findings – The principal contributions of this study are: the systematic development of a taxonomy for post-plan improvisations; the reported frequencies associated with those categories; and tentative findings regarding relationships between the causes, deviations, and success of PPI. Improvisations that were prompted by changes in external market factors were more likely to be judged by planners as having been successful than those made for reasons internal to the firm. The results also suggest that there exists an optimal level of PPI, that improvisations in pricing are likely to result from changes in the external macro environment, that improvisations in promotion are likely to be responses to competitors, and that managers who are less experienced at planning are less successful than experienced planners at improvisation. Originality/value – Due to the inherent unpredictability of improvisational decision making, few empirical studies have attempted to capture details regarding specific deviations from intended actions. This study is the first attempt to capture and categorize those data in order to allow for more meaningful future investigations.
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Kim, Kangwon. "An exploration of critical issues relating to improvisation in Western music education." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 6 (March 31, 2024): 409–24. http://dx.doi.org/10.22251/jlcci.2024.24.6.409.
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Objectives The purpose of this study was to explore and discover critical issues of Western music education regarding improvisation, and to analyze and discuss them.
Methods As a systematic literature study, strategies such as database searches, backward snowballing, and forward snowballing were used to collect data. English words, improvisation, music, education were used as key words for data searches to identify relevant English literature. In order to discover potential critical issues gathered literature were thoroughly reviewed and re-analyzed by realms.
Results Recurring important issues of improvisation in Western music education were divided into four realms. Those were issues relating to defining the term, diverse spectrum of improvisation, the critique of current pedagogies, and music teachers’ avoidance of improvisational activities. Also, the second issue was subdivided into three. Those were improvisation as musical traditions, improvisation as musical activities, and improvisation as pedagogical approaches.
Conclusions This study suggested defining improvisation in an educational context, having a sensitivity to a degree of freedom given for students’ musical choices, and taking action to incorporate improvising activities in music teacher education.
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Ianetta, Melissa. "“She Must Be a Rare One”: Aspasia, Corinne, and the Improvisatrice Tradition." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 92–108. http://dx.doi.org/10.1632/pmla.2008.123.1.92.
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Improvisation was long the apex of the arts of eloquence, yet modern scholars ignore its importance as a rhetorical and literary genre, thereby severing a long-enduring connection between rhetorical and literary history. This essay reads Plato's Menexenus to formulate a theory of improvisational rhetoric around the cultural position of Aspasia, a foreign woman renowned for eloquence in Periclean Athens. It then places this construction of improvisation alongside Germaine de Staël's early-nineteenth-century novel Corinne to demonstrate the endurance and evolution of improvisational rhetoric. Doing so not only illustrates the long-standing—and long-neglected—influence of improvisation on both rhetorical theory and literary production but also challenges present-day disciplinary prejudice by revealing the permeable boundary between imaginative works and those that provide rhetorical instruction.
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McAuliffe, Sam. "Improvisation, Ontology, and Davidson: Exploring the Improvisational Character of Language and Jazz." Context, no. 48 (January 31, 2023): 21–33. http://dx.doi.org/10.46580/cx87493.
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At least since the 1990s, the relationship between linguistic communication and jazz improvisation has been a topic of interest to both philosophers of language and theorists of jazz improvisation. Rarely, however, are the shared elements of language and jazz explored directly. This article interrogates these elements, with a particular focus on improvisation by drawing upon the work of Donald Davidson. While Davidson himself does not readily employ the term ‘improvisation’, I argue that key ideas from Davidson’s work—the principle of charity, triangulation, and his argument that there is no such thing as a language—align with the concept of improvisation. In this article I offer a reading of Davidson’s work—a reading that highlights an improvisational character of his philosophy typically not made explicit—and, on the basis of the ontology of improvisation that emerges from Davidson’s philosophy, I explore the implications of that understanding of language for the way in which we understand jazz.
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Lee, Colin Andrew, and Amy Clements-Cortés. "Applications of Clinical Improvisation and Aesthetic Music Therapy in Medical Settings: An Analysis of Debussy’s ‘L’isle joyeuse’." Music and Medicine 6, no. 2 (October 25, 2014): 61. http://dx.doi.org/10.47513/mmd.v6i2.181.
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The application and use of clinical improvisation is an important technique in medical music therapy. Through the analysis of Debussy’s ‘L’isle joyeuse’ this study aims to provide the beginnings of a new way of working within a music-centered philosophy for music therapists in medical settings. The piece is divided into eight sub-sections, offering practical suggestions for how the music can be adapted and used for specific clinical outcomes. Each analysis may be used separately to create smaller improvisations or collectively in varying combinations, to create larger improvisations. Throughout the study connections are made between musical process and clinical outcome. Due to the transparent and ever-changing environment of patient’s experiences in hospital settings, the potential for the free-flowing form of improvisation is emphasized as an important clinical technique. This paper offers a contemporary and musically scientific view of clinical improvisation in medical settings.
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Gao, Peng Bin, Wei Wei Wu, and Bo Yu. "The Study on the Hot Topics of Improvisation Research Based on the Co-Word Analysis." Applied Mechanics and Materials 411-414 (September 2013): 21–24. http://dx.doi.org/10.4028/www.scientific.net/amm.411-414.21.
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The research of improvisation has been become an emerging management area in recent years, the purpose of this study is to explore the hot topics of this research domain. Co-word analysis was performed by using the keywords of relevant publications in the improvisational field included by Web of Knowledge database from 1997 to 2012. The results of multivariate statistical techniques show that the improvisation research involves many fields including organizational theory, innovation, learning, entrepreneurship, strategy and change. The social network analysis was used to trace the dynamic changes of the improvisation research, and results show that improvisation field has some established research themes and it also changes rapidly to embrace new themes.
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Sutherland, Allan. "Dissonant Harmonies: Modelling and Conceptualising Improvising Social Groups." International and Multidisciplinary Journal of Social Sciences 3, no. 3 (November 30, 2014): 210–47. http://dx.doi.org/10.4471/rimcis.2014.38.
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Improvisation has attracted increasing attention within organisational and managerial studies as a method to improve efficiency and innovation without adequately understanding the conditions prerequisite for improvisation’s operation. This paper examines how the jazz repertoire theory, and New Cultural studies of jazz address improvisation within jazz ensembles, showing neither adequately explaining improvisation. The paper draws on Bourdieu’s concepts, fleshed out in Wacquant’s ethnography research of habitus acquisition among pugilists to propose a model of the symbiotic ensemble providing the conditions essential for improvisation. Symbiotic ensembles are composed of synergetic musicians, all of relatively equal musical and social status, who have commonly accrued an embodied musical improvising habitus through their musical and life trajectories, from first learning an instrument, transitioning to improvisation, performing in various ensemble settings whereby they acquire influences and become vectors transmitting musical concepts among disparate musical ensembles.
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White, Edward. "Exploring Confidence and Experience in Improvisation." International Journal of Health and Music 1, no. 1 (July 15, 2024): 3–22. http://dx.doi.org/10.61629/ijhm.v1i1.40.
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This study examines the role of improvisation in music education and the challenges of integrating it into collegiate-level courses. Despite its significance in music learning, improvisation is often overlooked in school curricula. The research reveals a gap between the importance of improvisation and its limited presence in music education beyond jazz. The case study focuses on undergraduate music education students and addresses key research questions related to professors' perspectives, challenges in providing improvisational experiences, current implementation, and possibilities for further integration. Five participants, who are music professors specializing in music education, performance, and entrepreneurship, were interviewed, and observed. Data analysis identified primary themes, including confidence and experience, value, relevance, and time constraints as the main challenges to integrating improvisation. Further research will shed light on professors' views and the incorporation of improvisation in collegiate music curricula.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles." Music Educators Journal 109, no. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.
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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
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Keränen, Anja. "Finnish Language Teaching through Improvisation – Conforming the Educational Values within an Improvisational Frame." Romanian Journal for Baltic and Nordic Studies 11, no. 2 (December 15, 2019): 63–78. http://dx.doi.org/10.53604/rjbns.v11i2_5.
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In my article, I examine the moments of gaps or pauses in improvisational scenes used in a Finnish language as a foreign language class. In my research I use different improvisational exercises and techniques (e.g. Johnstone 1981; 1999) when teaching Finnish as a second language. My pedagogical aim is to improve Finnish students’ communicational skills in different kind of improvised settings. My research focuses on teaching Finnish as a foreign language in a Romanian university using improvisation theatre as a method in language teaching. I start from some values of Finnish educational system, such as equity, flexibility, creativity, teacher professionalism and trust (Sahlberg 2007). I compare how these values are conformed within an improvisational frame in a second language class. I present three examples from two different drama courses and I show through these examples how students contemplate with delicate, shameful and radical moments or pauses within their improvisational interaction in the classroom. My aim is to show how the teachers repeatedly accept the students’ ideas based on the rules of improvisation (Johnstone 1981; 1999) and how this positive freedom of improvisation (Peters 2009) shows similarity with the values of the Finnish educational system.
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Liu, Ying, Sheng-Yuan Wang, Xiao-Lan Wu, and Jing Liang. "Analysis and Impact Evaluation of Entrepreneurs’ Improvisational Behavior Trigger Patterns." Mathematical Problems in Engineering 2022 (January 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/9068240.
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How entrepreneurial firms can enhance the level of exploratory and exploitative improvisation in a balanced manner to enhance organizational dynamics has become an important research topic. Current research on the triggers of duality entrepreneurial improvisation has just started, exploring mainly abstract characteristic variables, and has not paid attention to the impact of entrepreneurs’ daily behaviors. In order to make up for the shortcomings of current research, the research goal of this paper is to construct a triggering model of entrepreneurs’ improvisation based on the research of entrepreneurs’ daily behaviors and then to evaluate the influence of the improvisational behavior trigger patterns. Based on the paradoxical and theoretical perspective of duality, a structured observation method is used to explore which behavioral patterns of entrepreneurs tend to trigger dual improvisational behaviors in themselves, their teams, and their organizations. After observing and recording the creators and collecting phenomenal data, six entrepreneurial behavior patterns containing 39 specific operational behaviors have been extracted from the phenomenal data by drawing on the rooted theory approach. In addition, the influence of entrepreneurial patterns is evaluated and ranked using the pairwise hesitant fuzzy set evaluation method. This study reveals the relationship between entrepreneurs’ daily behaviors and dyadic entrepreneurial improvisation at the operational level and provides guiding plans for entrepreneurs to improve their own and their organizations’ improvisation levels.
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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.
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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City.
Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Delia-Pietra, Christopher J., and Patricia Shehan Campbell. "An Ethnography of Improvisation Training in a Music Methods Course." Journal of Research in Music Education 43, no. 2 (July 1995): 112–26. http://dx.doi.org/10.2307/3345673.
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In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on listening and analyzing model pieces and consequent small-group improvisations “in the style of the model.” Data were analyzed using ethnographic techniques. The profiles of two students were developed to trace emerging thoughts and behaviors regarding improvisation training. Although the profiled students differed as to prior experiences and personal perspectives on music-making and teaching, both showed evidence of an evolving sensitivity to the process of improvisation due to instruction—for themselves and for their students.
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Silva, Arthur, Lucilaine Pascuci, and Victor Meyer Jr. "Improvisation in academic management: a case study in a Brazilian public university." Revista de Negócios 28, no. 2 (June 19, 2023): 40. http://dx.doi.org/10.7867/1980-4431.2023v28n2p40-56.
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In this study, manifestations of improvisation and its relevance to academic management in a public university were analyzed. The study focused on managerial practices carried out by academic program coordinators. This is a qualitative case study that was based on concepts related to decision making in public administration, university management and organizational improvisation. Data were collected through participant observation, ethnographic interviews and documents, which were analyzed through document and narrative analysis. The results showed that the predominant types of improvisation were ad-hoc and covert, with the latter being due to the strong influence of informality. Other characteristcs such as pressure to meet deadlines, experience and creativity were key factors in the improvisational practices identified. Conclusions revealed that improvisational practices were found in the managerial practices of academic coordinators, contributing to not only to solve unexpected problems but also to improve the academic managerial performance.
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Lampasiak, Aurelia, and Andrea Welte. "Embodied musical improvisation: How the body fosters improvising groups." Journal de recherche en éducations artistiques (JREA), no. 2 (February 6, 2024): 41–52. http://dx.doi.org/10.26034/vd.jrea.2024.4720.
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This article explores the question of how the body is involved when improvising together in a group. Focusing on improvisational pedagogical practices, our interest lies particularly in the question in what ways the body empowers participation. With “Embodied participation in musical group improvisation” we are introducing a new model which allows for reflection on musical group improvisation. It also encourages a body-based perspective on improvisation in relation to the facilitation of participation. We illustrate our reasoning with examples from the ImproKultur project. In particular, we take a closer look at two approaches to musical group improvisation : body conducting and improvising with a chair, both as an object and as a musical instrument. Using these two quite different approaches to improvising in a group, we emphasise their specific aspects of embodiment.
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Guilbault, Denise Marie. "The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.
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The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment received significantly higher tonal improvisation rating scores than those students who did not have such instruction. No statistical difference was found for the main effect of grade level.
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Déguernel, Ken, Emmanuel Vincent, and Gérard Assayag. "Probabilistic Factor Oracles for Multidimensional Machine Improvisation." Computer Music Journal 42, no. 2 (June 2018): 52–66. http://dx.doi.org/10.1162/comj_a_00460.
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This article presents two methods to generate automatic improvisation using training over multidimensional sequences. We consider musical features such as melody, harmony, timbre, etc., as dimensions. We first present a system combining interpolated probabilistic models with a factor oracle. The probabilistic models are trained on a corpus of musical work to learn the correlation between dimensions, and they are used to guide the navigation in the factor oracle to ensure a logical improvisation. Improvisations are therefore created in a way in which the intuition of a context is enriched with multidimensional knowledge. We then introduce a system creating multidimensional improvisations based on communication between dimensions via probabilistic message passing. The communication infers some anticipatory behavior on each dimension influenced by the others, creating a consistent multidimensional improvisation. Both systems were evaluated by professional improvisers during listening sessions. Overall, the systems received good feedback and showed encouraging results—first, on how multidimensional knowledge can improve navigation in the factor oracle and, second, on how communication through message passing can emulate the interactivity between dimensions or musicians.
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Bertinetto, Alessandro, and Georg W. Bertram. "We make up the rules as we go along: Improvisation as an essential aspect of human practices." KANT Social Sciences & Humanities 10, no. 2 (April 2022): 4–29. http://dx.doi.org/10.24923/2305-8757.2022-10.1.
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The article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself. Bertinetto A., Bertram G.W. We Make Up the Rules as We Go Along: Improvisation as an Essential Aspect of Human Practices // Open Philosophy, vol. 3, no. 1, 2020, pp. 202-221.
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Rowan, Brent D. "Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit." LEARNing Landscapes 10, no. 2 (July 7, 2017): 257–69. http://dx.doi.org/10.36510/learnland.v10i2.814.
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This paper examines the impact of creating music in an improvisational jazz style on an amateur adult musician’s mind, body, and spirit. Learning jazz improvisation skills can help build more empathetic human beings, when the focus of improvisation is on reacting to what you hear in a clear and concise manner. Life skills are developed by focusing on deep listening and communicating with other musicians. Enabling a person to talk to, listen to, and understand those around them builds community and understanding, and lessens the likelihood of conflict. This allows growth and progress to take place in society, making the cultural capital built from a jazz improvisation program invaluable.
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Huang, Xiaozhi, Xiaojie Zhang, and Heng Zhang. "The Impact of Mixed Emotions on Consumer Improvisation Behavior in the Environment of COVID-19: The Moderating Effect of Tightness-Looseness Culture." International Journal of Environmental Research and Public Health 19, no. 24 (December 19, 2022): 17076. http://dx.doi.org/10.3390/ijerph192417076.
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Organizations and individuals are unprepared for an unexpected outbreak of COVID-19. While most of the literature focuses on improvised reactions at the organizational level, this paper focuses on understanding improvised reactions at the individual level. This paper draws on previous research applying improvisation to the field of consumer behavior and introduces consumer knowledge acquisition as a mediating variable and tightness-looseness culture as a moderating variable from the perspective of mixed emotions of awe and anxiety to explain the mechanism of consumers with mixed emotions of awe and anxiety on improvisation behavior based on the environment of a COVID-19 outbreak. Data from 330 participants in Study 1 examined the effect of mixed emotions of awe and anxiety on improvisation behavior through knowledge acquisition, and data from 434 participants in Study 2 examined the moderating effect of relaxed culture. The findings suggest that consumers with mixed emotions report a higher willingness to acquire knowledge and report higher levels of improvisational behavior. Consumers behaved differently in different environments. Consumers with mixed emotions responded more strongly to improvisation in the loose-culture environment than in the tight-culture environment, and the mixed emotions of awe and anxiety had a positive effect on individual consumers’ improvisational behavior through the mediating role of knowledge acquisition.
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Norgaard, Martin, Samantha N. Emerson, Kimberly Dawn, and James D. Fidlon. "Creating Under Pressure." Music Perception 33, no. 5 (June 1, 2016): 561–70. http://dx.doi.org/10.1525/mp.2016.33.5.561.
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A growing body of research suggests that jazz musicians concatenate stored auditory and motor patterns during improvisation. We hypothesized that this mechanism allows musicians to focus attention more flexibly during improvisation; for example, on interaction with other ensemble members. We tested this idea by analyzing the frequency of repeated melodic patterns in improvisations by artist-level pianists forced to attend to a secondary unrelated counting task. Indeed, we found that compared to their own improvisations performed in a baseline control condition, participants used significantly more repeated patterns when their attention was focused on the secondary task. This main effect was independent of whether participants played in a familiar or unfamiliar key and held true using various measurements for pattern use.
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HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (November 29, 2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.
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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.
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Pratama, Bayu. "Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing"." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (June 27, 2024): 76–87. http://dx.doi.org/10.17509/interlude.v3i2.71594.
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This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.
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Gillon, Les. "Varieties of Freedom in Music Improvisation." Open Cultural Studies 2, no. 1 (December 1, 2018): 781–89. http://dx.doi.org/10.1515/culture-2018-0070.
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Abstract This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising musician.
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Kim, Sujin, and Yoonhan Jeon. "A Study on Improvisation Techniques Appearing in Keith Jarrett 《Koln Concert January 24, 1975, Pt. A》." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 1079–106. http://dx.doi.org/10.33645/cnc.2022.6.44.6.1079.
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This paper focuses on the characteristics of improvisation among the various musical expression techniques of Keith Jarrett. The field of improvisation, which originated from the European classical tradition, is one of the ever-developing techniques in music history. Used as a tool to show the performer’s technical excellence by the musical styles of many eras, improvisation has been independent of musical structure since the 1960s, and has everything from creation to rhythm to form. It was a new concept that the performer’s will was reflected as it was. This is the 1960s free jazz and 1970s fusion jazz era. This paper focuses on the improvisational form of fusion jazz, and while the style of one’s own is firmly established through the flow of this era, the live performance of artist Keith Jarrett who expresses the improvisational performance of infinite possibilities. I mainly researched Part. II A in the concert album “Koln Concert”. As a result, improvisation is part of the art that goes out of the unconscious, but by no means easy to define. It can be said that it is a noble product of continuous training by researching and repeat over and over again music techniques that human beings have made or can make for each era, involving music from the time it was born to modern music. Through this paper, I emphasize that expressing the overall things that the performer has, such as values, emotions, and philosophies, as well as the latent musicality, is the most important part of improvisation.
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Linson, Adam, Chris Dobbyn, George E. Lewis, and Robin Laney. "A Subsumption Agent for Collaborative Free Improvisation." Computer Music Journal 39, no. 4 (December 2015): 96–115. http://dx.doi.org/10.1162/comj_a_00323.
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This article discusses the design and evaluation of an artificial agent for collaborative musical free improvisation. The agent provides a means to investigate the underpinnings of improvisational interaction. In connection with this general goal, the system is also used here to explore the implementation of a collaborative musical agent using a specific robotics architecture called Subsumption. The architecture of the system is explained, and its evaluation in an empirical study with expert improvisors is discussed. A follow-up study using a second iteration of the system is also presented. The system design and connected studies bring together Subsumption robotics, ecological psychology, and musical improvisation, and they contribute to an empirical grounding of an ecological theory of improvisation.
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Johnson-Laird, P. N. "How Jazz Musicians Improvise." Music Perception 19, no. 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.
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This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.
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Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (June 9, 2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.
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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.
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Macklin, E. Kim, Glen T. Hvenegaard, and Paul E. Johnson. "Improvisational Theater Games for Children in Park Interpretation." Journal of Interpretation Research 15, no. 1 (April 2010): 7–13. http://dx.doi.org/10.1177/109258721001500102.
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With children increasingly disconnected from nature and much interpretation geared toward adults, agencies need age-appropriate techniques for children. Improvisational theater games use group-based role-playing to solve problems through dialogue and activity in a creative, spontaneous, supportive, and interactive atmosphere. This paper highlights children's enjoyment and perceived learning resulting from a new improvisation program in Banff National Park, Canada. We thematically analyzed open-ended evaluations of an improvisation-dominated program. The activities enjoyed most included improvisation, because they involved fun, physical activity, creativity, challenge, and novelty. The least-enjoyed activities were physical activity games and an interpretive talk. Perceived learning was highest from an interpretive talk and nature walk and least from games focused on physical or group activities. Most perceived and desired learning related to natural history and park management topics. Despite being nontraditional and non-thematic, improvisation can contribute to children's enjoyment and perceived learning in park interpretive programs.
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Limon, İbrahim, and Ümit Dilekçi. "Organizational improvisation capability of schools: A study of scale adaptation and level determination." Pegem Eğitim ve Öğretim Dergisi 10, no. 4 (October 13, 2020): 1147–82. http://dx.doi.org/10.14527/pegegog.2020.035.
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The aim of this study was to adapt the Scale of Organization Improvisational Capability (SOIC) into Turkish culture and determine schools’ organizational improvisation capability. The study first presented the theoretical framework of the concept of organizational improvisation, which has been understudied in Turkey so far. In the experimental stage, SOIC was adapted into Turkish culture and used for the first time in Turkey. SOIC-TR has linguistic equivalence, construct validity, and reliability. However, it has a uni-dimensional structure whereas the original version (SOIC-EN) consists of eight items, loading on two separate factors. In the second stage, a single screening model was employed to determine schools’ organizational improvisation capacity and to compare it by various variables. In this stage the study sample consisted of 366 school administrators and teachers in Batman. Participants were recruited using convenience sampling. Participants had an “Agree” level perception of their schools’ organizational improvisation capacity. Their views significantly differed by their position and school size but not by school grade level.
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Bertinetto, Alessandro, and Georg W. Bertram. "We Make Up the Rules as We Go Along: Improvisation as an Essential Aspect of Human Practices?" Open Philosophy 3, no. 1 (May 27, 2020): 202–21. http://dx.doi.org/10.1515/opphil-2020-0012.
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AbstractThe article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself.
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Balachandra, Lakshmi. "The Improvisational Entrepreneur: Improvisation Training in Entrepreneurship Education." Journal of Small Business Management 57, sup1 (July 1, 2019): 60–77. http://dx.doi.org/10.1111/jsbm.12486.
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Sawyer, R. Keith. "Improvisational Cultures: Collaborative Emergence and Creativity in Improvisation." Mind, Culture, and Activity 7, no. 3 (August 2000): 180–85. http://dx.doi.org/10.1207/s15327884mca0703_05.
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Hall, Matthew J. "Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)." Early Music 48, no. 2 (May 2020): 177–92. http://dx.doi.org/10.1093/em/caaa026.
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Abstract Unfigured basslines serve as the starting points for collective improvisation in several sections of Agostino Agazzari’s Eumelio (1606). Agazzari makes clear that musicians used such basslines for effective ensemble improvisations in his well-known treatise Del sonare sopra’l basso con tutti li stromenti (1607) and in other contemporaneous documents. Gloria Rose has identified isolated examples of written ‘tablatures of the bass’, or contrapuntal templates from which ensembles improvised. However, analysis of the harmonic and modal parameters of the vocal monody in Eumelio shows how constrained the possibilities for improvisation actually were, indicating that the training of musicians c.1600 prepared them to improvise collectively from a bassline, even without such written tablatures. Some aspects of historical musicianship could lead to successful and enjoyable collective improvisation today, suggesting ways to bridge the gap between the contrapuntal training of modern and past musicians.
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Lipsky, M., and J. Kantor. "Identification of Challenges and Strengths of Children with Special Educational Needs in Their Musical Improvisations." Клиническая и специальная психология 8, no. 1 (2019): 118–36. http://dx.doi.org/10.17759/cpse.2019080108.
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The study of therapeutic uses of musical improvisation can help to improve music therapy assessment which is the aim of this paper. This paper identifies 1. the individual challenges and strengths that may help to deal with problems reflected in musical improvisations of children with special needs and, 2. ways of their identification while listening to the children’s musical expression. Data collected from 180 verbal descriptions of musical improvisations of four children with special needs and then analysed using grounded theory as well as content analysis of documents. It was found that music reflects children’s problems (with mainly bio-behavioural character) as well as their strengths that may be helpful in coping with those problems. Some theoretical guidelines for analysis of musical improvisation and the planning of music therapy intervention were suggested based on these findings.
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Aranha, Elzo Alves, and Neusa Abbud Prado Garcia. "Organizational improvisation, jazz and the representations of time in organization." Revista Ibero-Americana de Estratégia 4, no. 1 (December 20, 2007): 79–87. http://dx.doi.org/10.5585/ijsm.v4i1.73.
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Nowadays, it is possible to verify an increase of academic articles about the phenomenon of time on Organizations Studies field which has close relation to change management in organization. Recently, investigations about time are associated to organizational improvisation and some of these researches offer organizational formats and models. This article aims to verify how cyclical and linear perspectives of time are present in organizational improvisation. Therefore, this article was structured in the following segments: the first is an introduction, the second deals with some conceptual aspects of cyclical and linear perspectives of time; the third describes organizational improvisational conceptual frames; the fourth presents a description of the relations between cyclical and linear perspectives of time and organizational improvisational conceptual frames; and the fith presents the final considerations.