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Books on the topic 'Improvising music'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Vella, Richard. Sounds in space, sounds in time: Projects in listening, improvising and composing. London: Boosey & Hawkes Music Publishers, 2003.

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12

The musician's handbook: A guide to music fundamentals, hearing and performing music, reading and writing notation, improvising, and composing. Upper Saddle River, N.J: Prentice Hall, 1998.

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13

The influence of John Coltrane's music on improvising saxophonists: Comparing selected improvisations of Coltrane, Jerry Bergonzi, and David Liebman. Lewiston: The Edwin Mellen Press, 2014.

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14

Home, Ethel. Improvising. Library Reprints, 2001.

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15

Moelants, Dirk, ed. Improvising Early Music. Leuven University Press, 2014. http://dx.doi.org/10.11116/9789461661593.

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16

Improvising Early Music. Leuven University Press, 2014.

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17

Coker, Jerry. Improvising Jazz. Simon & Schuster, Limited, 2010.

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18

Lieberman, Julie Lyonn. Improvising Violin. Leonard Corporation, Hal, 1997.

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19

Improvising Violin. Hal Leonard Corporation, 1997.

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20

Lieberman, Julie Lyonn. Improvising Violin. Leonard Corporation, Hal, 1997.

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21

Creative Saxophone Improvising. Oxford University Press, 2005.

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22

Coryell, Larry. IMPROVISING: MY LIFE IN MUSIC. HAL LEONARD CORPORATION, 2007.

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23

Coryell, Larry. Improvising: My Life in Music. Leonard Corporation, Hal, 2007.

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24

Coryell, Larry. Improvising: My Life in Music. Leonard Corporation, Hal, 2007.

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25

Coryell, Larry. Improvising: My Life in Music. Leonard Corporation, Hal, 2007.

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26

Miller, Sue. Improvising Sabor. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.001.0001.

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The term ‘salsa’ has come to stand for a particular standardized set of performance practices and the dominant narrative of its origins, particularly through the lens of the Fania Records story, has tended to over-simplify Latin music history in the USA. This book documents an understudied period of Latin music history across the divide of the Cuban Revolution of 1959 to demonstrate a wider narrative which includes the history of the influential charanga orquestas of 1960s New York. A típico aesthetic is shown to be an important one with the combination of charanga and conjunto stylings giving rise to a plurality of ensemble types, each with a distinctive sabor and varying degrees of cubanía. In this book Miller thus examines the New York contexts for Cuban dance music performance in the first part of the twentieth century before considering the mid twentieth-century developments. The text makes its argument for a distinctive New York sabor through interviews with performers and through the sensitive transcription and analysis of recordings by Orquesta Broadway, Pacheco y su Charanga, Charlie Palmieri’s Charanga Duboney, Eddie Palmieri’s La Perfecta, and Ray Barretto’s Charanga Moderna, amongst others. Analytical transcriptions of improvisations, in dialogue with musicians’ own perspectives, highlight a specific Latin music performance aesthetic or sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York.

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27

Miller, Sue. Improvising Sabor: Cuban Dance Music in New York. University Press of Mississippi, 2021.

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28

Miller, Sue. Improvising Sabor: Cuban Dance Music in New York. University Press of Mississippi, 2021.

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29

Miller, Sue. Improvising Sabor: Cuban Dance Music in New York. University Press of Mississippi, 2021.

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30

Miller, Sue. Improvising Sabor: Cuban Dance Music in New York. University Press of Mississippi, 2021.

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31

Damian, Jon. The Guitarist's Guide to Composing and Improvising. Berklee Press Publications, 2001.

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32

Nero, Paul Del. Playing the Changes: Bass: A Linear Approach to Improvising. Berklee Press, 2006.

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33

Nero, Paul Del. Playing the Changes Bass: A Linear Approach to Improvising. Leonard Corporation, Hal, 2006.

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34

Nero, Paul Del. Playing the Changes Bass: A Linear Approach to Improvising. Leonard Corporation, Hal, 2006.

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35

Nero, Paul Del. Playing the Changes Bass: A Linear Approach to Improvising. Leonard Corporation, Hal, 2006.

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36

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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37

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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38

Sync or Swarm: Improvising Music in a Complex Age. Continuum International Publishing Group, 2006.

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39

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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40

Carlson, Gretchen L. Improvising the Score: Rethinking Modern Film Music Through Jazz. University Press of Mississippi, 2022.

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41

Diorio, Joe. Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising. Leonard Corporation, Hal, 2000.

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42

Diorio, Joe. Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising. Leonard Corporation, Hal, 2000.

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43

Diorio, Joe. Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising. Leonard Corporation, Hal, 2000.

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44

Diorio, Joe. Intervallic Designs for Jazz Guitar: Ultramodern Sounds for Improvising. Hal Leonard Corporation, 2000.

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45

Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature. University of Chicago Press, 2017.

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46

Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature. University of Chicago Press, 2020.

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47

Peters, Gary. Improvising Improvisation: From Out of Philosophy, Music, Dance, and Literature. University of Chicago Press, 2017.

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48

Oshinsky, James. Return to Child: Music for People's Guide to Improvising Music and Authentic Group Leadership. Primedia eLaunch LLC, 2008.

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49

Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.

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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and exemplars) contribute to a holistic and comprehensive creative process that inspires spontaneous and meaningful music making. The article concludes with recommendations for replication and extension of research to provide insight for improvisation assessment.

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50

Loane, Cormac. Improvising on a Theme: The Story of the Birmingham Music Service. Institute of Education Press (IOE Press), 2020.

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