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Relevant bibliographies by topics / Improvising music

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Academic literature on the topic 'Improvising music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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Journal articles on the topic "Improvising music"

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La Berge, Anne. "On improvising." Contemporary Music Review 25, no. 5-6 (October 2006): 557–58. http://dx.doi.org/10.1080/07494460600990679.

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Wall, Michael Patrick. "Improvising to learn." Research Studies in Music Education 40, no. 1 (January 10, 2018): 117–35. http://dx.doi.org/10.1177/1321103x17745180.

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This study explored how and what a group of six fifth-grade instrumental music students learned during group improvisation activities over eight sessions together with the researcher as participant observer. Students’ learning was investigated through the lenses of musical fluency and collaborative emergence. Findings related to multiple understandings of students’ musical fluency and students’ rhythmically driven displays of collaborative emergence. Implications of this study include the ideas that (a) students’ musical fluency is individual and personal in nature and improvisation gives students a space to explore these personal decisions; (b) young improvisers can be overwhelmed by free improvisation and may create boundaries to aid their playing; (c) without teacher direction, young improvisers can make pedagogical and music making decisions relevant to their interests; and (d) young improvisers can successfully create a collaborative emergent during group improvisation.

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Zimmerli, Patrick. "Improvising with Arrays." Contemporary Music Review 40, no. 2-3 (May 4, 2021): 202–13. http://dx.doi.org/10.1080/07494467.2021.2017156.

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Ryan, Joel. "Improvising with others." Contemporary Music Review 25, no. 5-6 (October 2006): 417–23. http://dx.doi.org/10.1080/07494460600989788.

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Brown, Chris. "Some thoughts about improvising." Contemporary Music Review 25, no. 5-6 (October 2006): 571–73. http://dx.doi.org/10.1080/07494460600990703.

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Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (November 25, 2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

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Shevock, Daniel J. "The Experience of Confident Music Improvising." Research Studies in Music Education 40, no. 1 (March 23, 2018): 102–16. http://dx.doi.org/10.1177/1321103x17751935.

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Improvisation plays a substantial role within the world’s musical cultures. The purpose of this research was to explore the essence of the experience of confident music improvising. In this phenomenological study, confidence was considered a psychological experience and the confidence of improvisers the phenomenon under examination. The researcher compiled experiences through stories describing the phenomenon by interviewing three confident improvisers: a bluegrass fiddler, a jazz bassist and a baroque violinist. Vignettes portrayed the lifeworlds of these instrumentalists. The stories told were reduced through imaginative variation to identify which themes were essential, that is, shared among the participants’ unique experiences. The essential themes revealed were: listening, criticism-free environment, sequential experiences, passion for a style, and openness to learning. Music educators could potentially use these themes to enrich their own improvisation pedagogy.

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Dreier, Ruth. "Listening Live: Improvising on air." Contemporary Music Review 25, no. 5-6 (October 2006): 537–38. http://dx.doi.org/10.1080/07494460600990596.

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Banerji, Ritwik. "Maxine’s Turing Test – A Player-Program as Co-Ethnographer of Socio-Aesthetic Interaction in Improvised Music." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 2–7. http://dx.doi.org/10.1609/aiide.v8i4.12565.

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Beyond the goal of refining system design to the needs and tastes of users, user evaluation of interactive music systems offers a method of examining the nature of musical creativity as understood by its human practitioners. In the case of improvising music systems, user study and evaluation of a system’s ability to improvise may be useful in the ethnomusicological study of musical interaction in contemporary improvised music. A survey of preliminary findings based on the interactions of an improvising system, Maxine, with several improvisers is discussed, with results suggesting methodological reconfigurations of the purpose and goals of evaluating of interactive musical metacreations.

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Rothenberg, David. "Sudden music: Improvising across the electronic abyss." Contemporary Music Review 13, no. 2 (January 1996): 23–46. http://dx.doi.org/10.1080/07494469600640041.

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Dissertations / Theses on the topic "Improvising music"

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BeÌzenac, Christophe Emmanuel de. "Improvising ambiguity : an ecological approach to music-making." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441206.

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Robinson, Jason L. "Improvising California : community and creative music in Los Angeles and San Francisco /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170218.

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Bailey, S. "A practice-led investigation into improvising music in contemporary Western culture." Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/13291/.

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This thesis presents improvised practice with accompanying contextualisation alongside a discussion of the broader issues involved in improvising music in contemporary Western culture. The first chapter explores aesthetic and philosophical issues relating to improvisation in general while also establishing a context for the practice that follows. Starting by examining the role of a musical instrument in an improvising situation, this chapter goes on to discuss how improvisation challenges distinctions such as art and craft or subject and object. The issues of risk, vulnerability, dialogue and collaboration are then considered leading to an exploration of the role that memory, the familiar and habit play in improvisation. The chapter finishes with an investigation into the relationship between ethics and improvisation. The second chapter consists of improvised practice presented as four separate projects: The Quartet, Spock, CCCU Scratch Orchestra and a duo with Matthew Wright. Each of these projects consists of a commentary discussing particular issues raised through this research followed by the presentation of the relevant improvised practice. This practice is documented through and presented in the form of audio recordings. A concluding section reprises and identifies the overall themes of the thesis and provides contextualisation for the final live performance that forms an important practical component of this research.

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Caesar, Michael, and n/a. "The processes used by high school music instrumentalists when improvising music and the factors which influence those processes." University of Canberra. Education, 1999. http://erl.canberra.edu.au./public/adt-AUC20050214.143037.

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The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes. Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensembles of factors were: I . The student profile which included general information and detailed aspects of prior music experience. 2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities. 3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation. Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence. The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes, enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive strategies used by the students when undertaking the various music improvisation tasks. The ability of the case study design to handle both qualitative and quantitative data proved to be useful in this study. Two major findings emerged from the analysis of the data: 1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable. 2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of the music improvisation processes used by these individual students, did not follow or produce any specific patterns. It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.

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Lockett, Mark Peter Wyatt. "Improvising pianists : aspects of keyboard technique and musical structure in free jazz, 1955-1980." Thesis, City University London, 1988. http://openaccess.city.ac.uk/8259/.

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The jazz avant-garde of the 60s and 70s has often been depicted as a movement that signalled the end of jazz as we had come to know it, a movement of unbridled musical energy and passion without the essential restraining influences of formal guidelines and reverence for - traditions. With the benefit of hindsight, from observing the almost neoclassical stance of jazz in the 80s, the notion that this music signified the genre's Armaggedon was patently a misconception. This thesis argues that free jazz was as much a style, concerned with finding its own voice and technical vocabulary, as any other period of jazz history. As an analytical and critical study of pianists and their use of the piano in free jazz and improvised music, this survey is designed to fill a gap in musicological research of this important artistic movement, which hitherto has been primarily concerned with biography and with related sociological issues. The study traces the piano through the turbulent years of radical experirnentalism in jazz and the subsequent refinement in free improvisation in Europe and the U.S. through the work of pianists central to the movement. Rather than adopting the chronological approach, this study considers the music under broad headings specifically related to technique; the instrument's position within the group, and the generation of form, motivic structure and 'language'. Chapter 1, by way of introduction, outlines the argument of what constitutes the 'freedom' in free jazz and looks at the early development of the avant garde as it arose in opposition to the prevailing traditions of bebop and contemporary notated music with special reference to three influential pianists: Herbie Nichols, Lennie Tristano and Thelonius Monk. Chapter 2 is concerned with new concepts in overall form, while Chapter 3 takes a closer look at the smaller components, or motifs, of modular improvisatory structure. Chapter 4 examines the physical nature of piano tones, their unique qualities of sustain and resonance and their changing patterns of distribution in this music; looking at 'space' firstly in the sense of the piano's natural resonance and the pianists whose work has explored this particular characteristic, and secondly, the physical space involved in the act of playing, the sense of movement or kinaesthesis. Chapter 5 will concentrate on the dynamic and percussive approach to free jazz piano. Chapter 6 turns from the physiological to the psychological processes of improvisation; how the opposing forces of habit and originality assert themselves in the improviser's art. Chapter 7 will form a brief conclusion.

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Moyers, Timothy Scott. "Pragmatism, eclecticism and accessibility in composing and improvising electroacoustic and audiovisual work." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6697/.

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One of the primary focuses in the works presented and discussed herein is the juxtaposition of many disparate musical styles, recordings, and sound worlds within each individual piece. This juxtaposition extends to combining live improvisation meticulously created non-realtime elements, and elements of generative processes in the creation of individual works. A secondary theme is my attitude to accessibility and how this informs my work with audiovisual elements.

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Šores, Rita. "V - VI klasių mokinių kūrybiškumo ugdymas pamokoje improvizuojant." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_173309-62851.

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Magistro darbe analizuojamas V – VI klasių mokinių kūrybiškumo ugdymas muzikos pamokoje improvizuojant, siekiama atskleisti šio proceso kryptis ir metodiką, tobulinimo galimybes. Tyrimo objektas – mokytojų ir mokinių nuomonė apie muzikinį kūrybiškumo ugdymą improvizuojant. Darbo uždaviniai: atskleisti kūrybiškumo proceso teorinį aspektą, įvertinant improvizavimą kaip kūrybiškumą įtakojančią muzikinę veiklą. Empirinio tyrimo uždaviniai: išaiškinti svarbiausius kūrybišką asmenybę lemiančius veiksnius, pateikti rekomendacijas, kokiomis kryptimis galima vystyti muzikinio ugdymo improvizuojant strategiją. Tyrimas atliktas taikant pokalbio, anketinės apklausos metodus. Darbe iškeliama pedagoginė problema – mokinių nenoras giliau domėtis muzika. Improvizuojant ši problema pasireiškia mokinių iniciatyvos stoka, susikaustymu, nemokėjimu ir nenoru išreikšti save. Tai ypač būdinga paaugliams. Tyrimas parodė, kad mokytojai kūrybiškumą nelaiko prioritetine muzikinės veiklos sritimi. Jie kūrybiškai asmenybei priskiria šias savybes: mokėjimą fantazuoti, atkaklumą įgyvendinant savo idėjas, laisvumą, pasitikėjimą, emocingumą, jautrumą, originalumą, nepriklausomumą. Ištirta, kad svarbiausi veiksniai, lemiantys improvizavimo sėkmę, yra muzikinės klausos ir muzikinės atminties lavinimas, saviraiškos ir pažinimo poreikių tenkinimas, sugebėjimas operuoti muzikos išraiškos priemonėmis. Vienodas skaičius mokytojų mano, kad muzikai gabūs mokiniai visada kūrybiški ir muzikai gabūs mokiniai nevisada... [toliau žr. visą tekstą]
This Master‘s thesis contains the analysis of the 5-6th grade pupils education of creativity through improvization at music lessons, directions, methods of the process, as well as possibilities of the development. Research subject - teachers and pupils’ opinion of musical creativity education through improvization. Research objectives: to review the theoretical aspect of creative process, assessing improvization as creativity which influence musical activity. Empiric research objectives: to analyse the most important activities of a creative personality; to present recommendation on the ways of music education through improvization strategy. The research is based on oral and written questions. Pedagogical problem of the research – pupils’ unwillingness to understand music deeper. This especially concerns teenagers. The research has demonstrated that teachers do not consider creativity to be the priority ir music education. According to them a creative personality possesses the following qualities; ability to imagine and realise ideas, freedom, self - confidence, emotions, sensitivity, originality, independence. It has been defined that the most important actions, leading to successful improvization, are the development of musical hearing and memory, self-expression and learning needs, ability to use means of music expression. The number of teachers, thinking that musically gifted pupils are always creative, is the same as the number of those who believe that they are not... [to full text]

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Yeorgouli-Bourzoukou, Styliani. "Examining the role of composing and improvising in Greek music education with particular reference to the Musika Gymnasia." Thesis, University of Winchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431210.

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Thorolfsdottir, Marína Ósk. "A Musical Personality : A quest towards discovering my identity in music and developing it into a musical personality." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4077.

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The purpose of my research was to develop and strengthen my personality in music as a vocalist, so I would be able to freely let it out during any musical encounter. My base for the research was a duet with guitarist Mikael Máni Ásmundsson, but it was during a rehearsal with him that I realised for the first time I even had a musical personality – that I liked. Before, I had often felt uncomfortable and tense when playing music and not sure who I was as an artist. I limited myself to working with West Coast jazz, jazz standards, and lyrical improvisation, and I used various methods such as transcribing, ear-training in multiple forms, and improvisation exercises, to develop my musical personality. The research resulted in a nine-song album that Mikael Máni and I created in 2020 under the artist-name Tendra. That album is my examination project. I learned a great deal from the experience. I gained self-confidence, independence trust and calmness during this journey, and at last I feel comfortable with who I am as an artist – my musical personality has finally moved in.

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Bateman, Richard Gethin. "Improvising resistance : jazz, poetry, and the Black Arts Movement, 1960-1969." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/287563.

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This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.

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Books on the topic "Improvising music"

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Improvising jazz. New York, NY: Simon & Schuster, 1986.

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Coker, Jerry. Improvising jazz. New York: Simon & Schuster, 1987.

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Coker, Jerry. Improvising jazz. New York: Simon & Schuster, 1987.

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Coryell, Larry. Improvising: My life in music. New York, NY: BackBeat Books, 2007.

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Improvising: My life in music. New York: Backbeat, 2007.

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Donelian, Armen. Training the ear: For the improvising musician. Rottenburg: Advance Music, 1992.

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Borgo, David. Sync or swarm: Improvising music in a complex age. New York, NY: Continuum, 2004.

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Sync or swarm: Improvising music in a complex age. New York: Continuum, 2005.

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Improvising: How to master the art. New York: Oxford University Press, 1994.

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The improvising mind: Cognition and creativity in the musical moment. New York: Oxford University Press, 2010.

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Book chapters on the topic "Improvising music"

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McGrath, John. "Improvising Beckett." In Samuel Beckett, Repetition and Modern Music, 124–47. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315607566-7.

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Chung, Szu-Ming, and Chih-Yen Chen. "Improvising on Music Composition Game." In Edutainment Technologies. Educational Games and Virtual Reality/Augmented Reality Applications, 264–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23456-9_52.

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Guedes, Carlos. "Composing and Improvising. In Real Time." In Music Technology with Swing, 445–53. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_29.

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Huhtinen-Hildén, Laura, and Jessica Pitt. "Improvising and Learning Music with Instruments." In Taking a Learner-Centred Approach to Music Education, 148–68. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315526539-12.

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Calero, Jaime O. Bofill. "Creative processes in improvising jíbaro décima." In Trends in World Music Analysis, 196–212. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033080-11.

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MacGlone, Una. "Young children’s talk about improvising." In Expanding the Space for Improvisation Pedagogy in Music, 115–32. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351199957-8.

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Boon, Hussein. "Improvising song writing and composition within a hybrid modular synthesis system." In Innovation in Music, 162–74. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-12.

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Villaseñor Ramírez, Hernani. "LiveCodeNet Ensamble: A Network for Improvising Music with Code." In Musical Instruments in the 21st Century, 327–33. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_21.

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MacGlone, Una. "Frames for Improvising." In General Music, 215–34. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197509012.003.0012.

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Abstract This chapter outlines research-grounded, practical approaches for teaching music improvisation in both elementary and special education schools. Including improvisation in music education is important because through this activity children can develop agency, responsiveness, and expressiveness. A flexible pedagogical model is offered with many lesson ideas, underpinned by the rationale and strategies to promote effective delivery. Activities include warm-up exercises, relational playing, conducted improvisation, and improvisation with symbols. Teachers working within a range of genres will be able to use and adapt the lesson ideas within this chapter to best fit their own contexts.

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Elliott, David J. "Composing and Improvising." In Praxial Music Education, 165–76. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780195385076.003.09.

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Conference papers on the topic "Improvising music"

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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral, and Rodrigo Mendes de Carvalho Pereira. "A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.

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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.

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