Journal articles: '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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Kaiser, Jeff. "Improvising Technology: Constructing Virtuosity." Cuadernos de Música, Artes Visuales y Artes Escénicas 13, no. 2 (July 6, 2018): 87–96. http://dx.doi.org/10.11144/javeriana.mavae13-2.itcv.

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In this paper, I explore how contemporary musicians using electronic technologies in improvised music conceptualize skill and virtuosity in their musical practices. This includes ideas about the role and agency of technology, learned and repeatable physical skill, skill acquisition, skill transmission, and the projection of learned skill from traditional instruments onto new instruments. The musicians’ use of idiosyncratic and individually constructed instruments—instruments with little or no history of a performance practice—makes this field a rich resource to examine how such conceptions are developed. Among the musicians I interviewed, the relationship between physical skill and virtuosity is particularly contested. While they frequently value such skill, they also connect it to perceived excesses of certain factions within Western art music, jazz, and other established musical performance practices where physical skill can be conflated with (or considered as the primary element of) musical skill, writ large. This perception of the excess and the prioritization of physical skill have led some interviewed musicians to adopt antivirtuosity as a reactive counter-ideology or to explore the less tangible concepts of hearing, creativity, imagination, memory, novelty, innovation, and even ideas of management as constitutive of musical virtuosity and skill. This paper is part of a larger ethnographic examination of a diverse cross-section of contemporary musicians who improvise with new, repurposed, and reinvented electronic technologies, including Robert Henke (one of the original authors of the software package Ableton Live), guitarist Nels Cline (Wilco), composer and flute player Anne La Berge, and trumpeter/composer Wadada Leo Smith.

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Rosenberg, Susanne. "Improvising Folk Songs: An Inclusive Indeterminacy." Contemporary Music Review 40, no. 4 (July 4, 2021): 425–39. http://dx.doi.org/10.1080/07494467.2021.2001942.

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Welch, Chapman. "Programming Machines and People: Techniques for Live Improvisation with Electronics." Leonardo Music Journal 20 (December 2010): 25–28. http://dx.doi.org/10.1162/lmj_a_00008.

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Many performers of new music do not come from an improvising tradition, and the addition of live electronics to works written for these performers may be intimidating due to their inexperience with improvising and/or working with technology. Although inexperience may be a problem, it can be overcome. The author describes techniques and strategies for creating rule-based improvisation environments with live electronics.

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Levens, Ursula. "Improvizația muzicală în grup în vremuri de izolare." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field XI, no. 1 (November 1, 2020): 77–84. http://dx.doi.org/10.47809/ictmf.2020.01.08.

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Reissig, Elfride. "‚Die Dinge stets sich selbst folgen lassen‘ – Klang und Perzeption bei Giacinto Scelsi." Musicological Annual 50, no. 2 (April 3, 2015): 53–62. http://dx.doi.org/10.4312/mz.50.2.53-62.

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“Music cannot exist without sound, sound can exist without music, therefore sound is more important than music“, Giacinto Scelsi’s cipher for the cosmos of sound of the single-note, opens a creative space beyond expansion of power and control by improvising and therefore sound itself becomes the mystery.

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Chakrabarty, Sudipta. "Intelligent Music Abstraction Tool for improvising the Quality of Music Composition." International Journal of Advanced Trends in Computer Science and Engineering 9, no. 3 (June 25, 2020): 3641–48. http://dx.doi.org/10.30534/ijatcse/2020/173932020.

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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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Schiemer, Greg. "Improvising Machines: Spectral Dance and Token Objects." Leonardo Music Journal 9 (December 1999): 107–14. http://dx.doi.org/10.1162/096112199750316893.

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The author examines the evolution of a system he developed for the creation of two compositions, Spectral Dance and Token Objects, against a backdrop of other composers who have built their own electronic systems. This provides a window on the gradual transformation that has taken place in the way music has been created over the last three decades.

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Setzler, Matthew, and Robert Goldstone. "Coordination and Consonance Between Interacting, Improvising Musicians." Open Mind 4 (November 2020): 88–101. http://dx.doi.org/10.1162/opmi_a_00036.

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Joint action (JA) is ubiquitous in our cognitive lives. From basketball teams to teams of surgeons, humans often coordinate with one another to achieve some common goal. Idealized laboratory studies of group behavior have begun to elucidate basic JA mechanisms, but little is understood about how these mechanisms scale up in more sophisticated and open-ended JA that occurs in the wild. We address this gap by examining coordination in a paragon domain for creative joint expression: improvising jazz musicians. Coordination in jazz music subserves an aesthetic goal: the generation of a collective musical expression comprising coherent, highly nuanced musical structure (e.g., rhythm, harmony). In our study, dyads of professional jazz pianists improvised in a “coupled,” mutually adaptive condition, and an “overdubbed” condition that precluded mutual adaptation, as occurs in common studio recording practices. Using a model of musical tonality, we quantify the flow of rhythmic and harmonic information between musicians as a function of interaction condition. Our analyses show that mutually adapting dyads achieve greater temporal alignment and produce more consonant harmonies. These musical signatures of coordination were preferred by independent improvisers and naive listeners, who gave higher quality ratings to coupled interactions despite being blind to condition. We present these results and discuss their implications for music technology and JA research more generally.

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Cannon, Joanne, and Stuart Favilla. "Improvising with Spatial Motion: Mixing the Digital Music Ensemble." Leonardo Music Journal 20 (December 2010): 97. http://dx.doi.org/10.1162/lmj_a_00021.

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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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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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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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Nomura, Makoto. "Follow children's music!… the fundamental idea." British Journal of Music Education 13, no. 3 (November 1996): 203–24. http://dx.doi.org/10.1017/s0265051700003247.

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With colleagues in Japan, the author, a composer and improvising musician, developed novel techniques of collaborative composition. Subsequently – in Japan and in Britain – he explored ways of developing those techniques with school pupils. In this article he writes about the background to that experiment, the professionalism of composers and performing musicians, and the relative importance of boundaries of all kinds (e.g. different frames for the reception of music). In particular, he reflects upon compositional ideas and processes generated by his work with children.

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Smith, Brian A. "Sync or Swarm: Improvising Music in a Complex Age (review)." symploke 14, no. 1 (2006): 362–63. http://dx.doi.org/10.1353/sym.2007.0039.

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Lewis, George E. "Too Many Notes: Computers, Complexity and Culture in Voyager." Leonardo Music Journal 10 (December 2000): 33–39. http://dx.doi.org/10.1162/096112100570585.

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The author discusses his computer music composition, Voyager, which employs a computer-driven, interactive & “virtual improvising orchestra” that analyzes an improvisor's performance in real time, generating both complex responses to the musician's playing and independent behavior arising from the program's own internal processes. The author contends that notions about the nature and function of music are embedded in the structure of software-based music systems and that interactions with these systems tend to reveal characteristics of the community of thought and culture that produced them. Thus, Voyager is considered as a kind of computer music-making embodying African-American aesthetics and musical practices.

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Samuels, Koichi, and Franziska Schroeder. "Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments." Contemporary Music Review 38, no. 5 (September 3, 2019): 476–89. http://dx.doi.org/10.1080/07494467.2019.1684061.

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Bing, Richard J. "Composing Music and the Science of the Heart: How to Serve Two Masters." Leonardo 41, no. 4 (August 2008): 365–66. http://dx.doi.org/10.1162/leon.2008.41.4.365.

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The author, both a composer and a physician, chronicles his development as a musician—from his childhood fascination with improvising on the piano to the eventual performance of one of his compositions in the church of Saint Stefan in Vienna—and his career as a medical doctor studying heart disease and researching new cures. He finds that the common denominator in composing music and doing medical research is the creative impulse. In his life, music and medicine have never been in competition. Rather, when frustrated by difficulties in medical research, the author has found renewal in composing music.

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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin." Organised Sound 26, no. 1 (April 2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

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Korošec, Kaja, Blaženka Bačilija Susić, and Katarina Habe. "Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre." Revija za elementarno izobraževanje 15, no. 3 (September 2022): 339–56. http://dx.doi.org/10.18690/rei.15.3.339-356.2022.

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The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students who only played classical music with those who played other genres, as well. Regression analysis showed that we can explain 71% of the variance in flow with attitudes toward improvisation.

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Crooke, Alexander Hew Dale, and Katrina Skewes Mcferran. "Improvising Using Beat Making Technologies in Music Therapy with Young People." Music Therapy Perspectives 37, no. 1 (2019): 55–64. http://dx.doi.org/10.1093/mtp/miy025.

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Miller, Steven M. "David Borgo: Sync or Swarm: Improvising Music in a Complex Age." Computer Music Journal 31, no. 3 (September 2007): 85–88. http://dx.doi.org/10.1162/comj.2007.31.3.85.

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Yoo, Hyesoo, and Sangmi Kang. "Teaching as Improvising: Preservice Music Teacher Field Experience With 21st-Century Skills Activities." Journal of Music Teacher Education 30, no. 3 (June 2021): 54–68. http://dx.doi.org/10.1177/10570837211021373.

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The purpose of this study was to examine how preservice music teachers navigate 21st-century skills in their lesson planning and field experiences. Among the various skills, we focused on the Partnership for 21st Century learning and innovation skills. Over 8 weeks, 10 preservice music teachers designed lesson plans focused on creativity, critical thinking, communication, and collaboration, and peer taught their lessons in an elementary music methods class as well as in their field placements. Our data sources included participants’ post-field teaching self-evaluations and post-project reflective essays, as well as instructor and supervisor field notes and face-to-face participant interviews. Through the data analysis, we identified three central concepts: (a) Curriculum-as-lived: Teaching like improvising, (b) Balanced in-betweenness: Structure and freedom, and (c) Collective efforts: Stepping away from comfort zones.

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DeMotta, David. "Bud Powell’s Improvising and the Aesthetics of Bebop Rhythm." Jazz Perspectives 12, no. 3 (September 1, 2020): 339–70. http://dx.doi.org/10.1080/17494060.2020.1840417.

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Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom." General Music Today 33, no. 1 (April 25, 2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.

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Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a listening walk, introducing students to invented notation, scaffolding exploratory learning experiences in the classroom, and provides resources for extending these lessons into composition and improvisation instruction. Embedding exploration into the music classroom empowers students to develop the mental flexibility, disposition, and skills needed for improvising and composing.

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Rose, Jon. "Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective." Leonardo Music Journal 20 (December 2010): 57–66. http://dx.doi.org/10.1162/lmj_a_00013.

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Bowed string music has always existed as an aural culture with improvisation considered as a prime focus of expression. It is the author's strong belief that experimentation is the natural state of all string music. This paper concentrates on recent history: bows that have incorporated interactive sensor technology. The central narrative deals with the author's own experiments and experience at STEIM since 1987. How reliable and practical is this technology? Are the results worth the trouble? Are there new modes of improvising only possible with an interactive bow?

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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (March 3, 2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.

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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.

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Krzyzaniak, Michael. "Interactive Learning of Timbral Rhythms for Percussion Robots." Computer Music Journal 42, no. 2 (June 2018): 35–51. http://dx.doi.org/10.1162/comj_a_00459.

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This article presents a machine-learning technique to analyze and produce statistical patterns in rhythm through real-time observation of human musicians. Here, timbre is considered an integral part of rhythm, as might be exemplified by hand-drum music. Moreover, this article considers challenges (such as mechanical timing delays, that are negligible in digitally synthesized music) that arise when the algorithm is executed on percussion robots. The algorithm's performance is analyzed in a variety of contexts, such as learning specific rhythms, learning a corpus of rhythms, responding to signal rhythms that signal musical transitions, improvising in different ways with a human partner, and matching the meter and the “syncopicity” of improvised music.

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Higgins, Jonathan. "More Than an Instrument: Improvising with failing playback media." Organised Sound 26, no. 1 (April 2021): 110–18. http://dx.doi.org/10.1017/s1355771821000108.

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The adoption of playback media – such as vinyl and the compact disc – by performers as a means of sound creation and manipulation sees our perception of these media ‘elevated’ to the status of an instrument. As this practice develops, improvisers push these devices further in pursuit of new sounds, including actively exploring the sonic potential of failure and destruction. This article argues that when pushed to the point of failure, playback media begin to function as an improviser, exhibiting musical agency over the performance that mirrors that of human improvisers. This article will identify how failing playback functions within a performance, and explore the ways in which it can be understood to improvise, discussing how failing playback media can engage in a dialogical back and forth with human improvisers as well as the ways it can directly influence and determine the structure and musical content of a performance.

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Slobin. "Improvising a Musical Metropolis: Detroit in the 1940s–1960s." Ethnomusicology 60, no. 1 (2016): 1. http://dx.doi.org/10.5406/ethnomusicology.60.1.0001.

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MacDonald, Alistair. "‘Making Life Lively’: Co-estrangement in live electroacoustic improvisation." Organised Sound 26, no. 1 (April 2021): 42–51. http://dx.doi.org/10.1017/s1355771821000042.

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The use of live electronic processing to extend, modify or transform an acoustic musical instrument has its roots in the recording and broadcast technologies that were developed in the first few decades of the twentieth century. In the second half of the century these tools were adopted by composers and musicians in many musical genres and have become commonplace and in some musics, ubiquitous. The perceived musical relationship between instrument and its electronic ‘other’ has been discussed largely from the point of view of listener and composer. This paper focuses on the performers’ perspective through reflection on and discussion of the author’s working methods in improvising duo contexts. The author suggests ‘estrangement’ as a term to describe and understand aspects of the performer’s experience of live transformation and discusses how this estrangement might influence the relationship between musicians and the resulting musical interaction in improvisation, and finally offers ‘co-estrangement’ as a description of his shared experience in such improvising duos.

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HOLLERBACH, PETER. "(Re)voicing tradition: improvising aesthetics and identity on local jazz scenes." Popular Music 23, no. 2 (May 2004): 155–71. http://dx.doi.org/10.1017/s0261143004000121.

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Historically, the field of ethnomusicology has tended to neglect the lives and work of individual musicians in favour of a view of music as culture, a disciplinary perspective that has assumed the homogeneity of the world's cultures. Contesting this erasure of the musical subject, biographical micro-histories situate the individual at the centre of music studies. Accordingly, the subject of this article is a self-identified ‘local’ jazz musician, whose narrative elucidates the exigencies of his musical and social life. One of the music's ‘lesser lives’, ‘LC’ is typical of those players who negotiate the contested terrain of jazz scenes peripheral to the jazz world's centre, New York City. The explication of his musical aesthetic and its influence upon his self-image as a jazz musician is directed toward a more representative view of jazz than that of institutionalised histories, which promulgate a ‘Great Man’ narrative. Incorporating contemporary discourse and critical race theories as alternatives to traditional modes of aesthetic inquiry, this study unpacks issues related to musical and social dialogism and signification, ‘voice’ and identity, and race and masculinity as a means of illuminating those criteria deemed crucial by a particular musician in his search for existential meaning and a jazz truth.

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Love, Andrew. "Improvising Their Future: Shamanic Hope In Ives, Schoenberg, Cage, Cardew, Rzewski and Messiaen." Tempo 60, no. 237 (June 22, 2006): 24–32. http://dx.doi.org/10.1017/s0040298206000192.

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Jord�, Sergi. "Improvising With Computers: A Personal Survey (1989?2001)." Journal of New Music Research 31, no. 1 (March 1, 2002): 1–10. http://dx.doi.org/10.1076/jnmr.31.1.1.8105.

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Vear, Craig. "Music, dimensions and play: composing for autonomous laptop musicians and improvising humans." Digital Creativity 25, no. 4 (May 28, 2014): 343–56. http://dx.doi.org/10.1080/14626268.2014.904795.

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Jovicevic, Jasna. "Flow Vertical: Composing and Improvising Original Music Inspired by Bodily Sound Vibrations." Leonardo Music Journal 29 (December 2019): 78–82. http://dx.doi.org/10.1162/lmj_a_01068.

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This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and represent ation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece. The artist applied an original eight-week-long method of creation, investigating how this idea of body vibration and a specific yogic routine could aesthetically affect music.

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KANELLOPOULOS, PANAGIOTIS A. "Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice." Educational Philosophy and Theory 44, no. 2 (January 2012): 151–82. http://dx.doi.org/10.1111/j.1469-5812.2010.00638.x.

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Schuiling, Floris. "The Instant Composers Pool: Music Notation and the Mediation of Improvising Agency." Cadernos de arte e antropologia, Vol. 5, No 1 (March 30, 2016): 39–58. http://dx.doi.org/10.4000/cadernosaa.1028.

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DICKSON, IAN. "Orality and Rhetoric in Scelsi's Music." Twentieth-Century Music 6, no. 1 (March 2009): 23–41. http://dx.doi.org/10.1017/s1478572210000046.

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AbstractIn his later music Giacinto Scelsi rejected the mediation of notation, improvising his works and viewing the scores, produced mostly by assistants, as a mere record. But to what extent did he really transcend the ‘tyranny of writing’ and how might one demonstrate this? Critics have tended to echo the composer in reducing the problem to an opposition between writing and sound per se. In this article I discuss the limitations of this view and propose a more structural approach, using in particular the analysis of Walter Ong. I argue that Scelsi's idiom, while novel in its extreme economy of means, uses these means in such a way as to restore a traditional sense of musical ‘grammar’. I illustrate the rhetorical versatility of this grammar by contrasting the two apparently similar movements of the Duo of 1965.

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Edmund, David C., and Elliott C. Keller. "Guiding Principles for Improvisation in the General Music Classroom." General Music Today 33, no. 2 (November 1, 2019): 68–73. http://dx.doi.org/10.1177/1048371319885361.

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Improvisation is a fundamental aspect of musicianship and an important pursuit in music education. Children in music classes throughout the world are engaged with improvisation in a variety of modes and settings. Whether singing, physically moving, or playing an instrument, the act of improvising in front of others may raise one’s self-consciousness, potentially leading to feelings of fear and anxiety. We wish to share guiding principles for improvisation to alleviate many of the associated fears. The establishment of a classroom improvisation culture may breed willful participation and acceptance. When willful participation and acceptance become habitual, the goal of establishing a safe space for students to explore their musical creativity is more readily achieved. A manifestation of the guiding principles is shared in the form of two model improvisation experiences for the general music classroom.

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Journal articles on the topic 'Improvising music'

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