Relevant bibliographies by topics / Jazz improvisation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jazz improvisation'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Jazz improvisation"

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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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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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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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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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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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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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Grigson, Lionel. "Harmony + Improvisation = Jazz." British Journal of Music Education 2, no. 2 (July 1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.

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In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classical students often seem to lack a precise concept of underlying harmonic form, the author concludes that more needs to be done with harmony at an earlier stage in music education, and that jazz may be the best context in which for this to happen.
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May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
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Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (August 23, 2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results indicate that aural imitation ability and technical facility are fundamental skills supporting jazz improvisation achievement. Other contributing factors include improvisation experience, jazz experience, practicing improvisation, perceived self-confidence, self-assessment, and jazz theory knowledge. Further analysis of results led to improvisation being viewed from a developmental perspective and achievement levels being distinguished on a developmental continuum (i.e., novice, intermediate, advanced) based on performance evaluations within musical categories (i.e., rhythm/time feel, harmony, melody/rhythmic development, style, expressivity, and creativity).
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Myroshnychenko, Valerii. "TEACHING JAZZ IMPROVISATION TO A FUTURE VOCAL ARTIST: ITS ESSENCE AND SPECIFICS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 189–93. http://dx.doi.org/10.36550/2415-7988-2021-1-192-189-193.

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The issues of teaching jazz improvisation to future vocal artists, especially theoretical and methodological aspects of their professional development in institutions of higher art education, have not been sufficiently studied. The matters of the essence and specifics of pop and jazz art, expressive means of improvisational mastery in vocal performance, the special nature of the relation between a composer and a performer, and the relationship with the audience become especially relevant. Vocal performance is one of the most important parts of jazz music. Both the first blues performers and many performers of the following decades – the period of New Orleans jazz, the era of swing, bebop and modern jazz – spark our interest. In addition to pronouncing the basic musical text, talented improvising vocalists have been using and continue to use scat singing till this day. The peculiarity of teaching jazz improvisation is also that it is a specific way of spiritual communication by musical means that can «say» more than words. It is a special concert genre that simulates a situation of direct spiritual communication, which occurs when two or more people related by a previously friendly relationship meet or during a meeting of people who have a sense of empathy between them. The specific features of a future vocal artist include combinatorial memory, imagination, fantasy, technical capabilities, and musical thinking, since the musician implements their spiritual and emotional potential in improvisation, operating with blocks of musical and artistic information during the jazz composition performance, combining them in different patterns, and thus finds the most complete, voluminous artistic embodiment of the improvisational idea. Vocal and jazz art is special in its manner, harmony, performance techniques, sound production, and orthoepy. Each style has its own professional performers whose artistic work presents the standard of the way the music sounds. Expressive means of improvisational technique in jazz are various, which is due to the specific features of variable jazz styles, individual performance style of vocal artists and the specifics of musical forms and genres typical of such technique.
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Dissertations / Theses on the topic "Jazz improvisation"

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Dyson, Kathy. "Learning jazz improvisation." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/3627/.

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The process of learning jazz improvisation is investigated in an exploratory way drawing on schema theory as a possible framework, from both a theoretical and a practical perspective. A schema is considered to be an abstract framework in the mind that both structures and is structured by experience. In this thesis, schema theory relating to a number of disciplines, is explained indetail, focusing on cognitive and motor elements in order to relate these processes to jazz improvisation and thus to provide a theoretical model. The model in turn is used to investigate how conceptual knowledge may be abstracted and generalised; how motor skill in musical improvisation may be developed; how cohesion in improvised lines may be generated; how multi-modal aspects of the skill may be integrated; how novel ideas may occur; how the individual voice is created and how improvised ideas may be communicated. This schema theory for jazz improvisation provides the theoretical ground from which a series of educational workshops (involving both groups and- individual musicians), on jazz improvisation learning was guided, observed and interrogated by the author as investigator in collaboration with the participants. A qualitative research methodology is used to collect and then analyse data from the workshops. Evidence from these practical investigations demonstrates the ability for musicians (mainly classically trained instrumentalists), untrained in jazz or improvisation to develop improvisation skills in a naturalistic and holistic manner, which is consistent with a theoretical account of schema theory. The workshop teaching also reveals the value of singing to improvisation development and the recreative/selective nature of memory. The findings, whilst considered speculative and work in progress have wide ranging implications for understanding dynamic adaptive skill and for educational practice, specifically, how knowledge of the schema might help teachers striving to teach music improvisation.
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White, Matthew S. "Visualization in Jazz Improvisation." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/561.

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Three prominent jazz trumpeters, who cite visual experiences of colors, shapes, contours, or transcription – elements not directly related to the aural information typically described in the improvisational process – were selected and interviewed for this study. Each subject was asked to describe their conscious processes and visual experiences while improvising, with emphasis on personal development, content and musical intent. Additionally, each subject selected a recorded improvised solo to be analyzed and discussed, comparing traditional musical analytical techniques to their corresponding visual experiences. Pedagogical elements related to jazz education and personal practice were also included.
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Hargreaves, Wendy Louise. "Jazz Improvisation: Differentiating Vocalists." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366673.

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Improvising jazz musicians have long observed that vocalists differ from instrumentalists. A formal acknowledgement of differences has not yet pervaded jazz education. Little, if any, accommodation is made for the unique attributes of voice students. Instead singers are instructed to act more like instrumentalists in order to correct a perceived lag in vocal jazz improvisation achievement. The approach fails to recognise that giving vocalists and instrumentalists the same tuition is unlikely to produce the same results when fundamental differences exist prior to instruction. A thorough exploration of the vocalist’s characteristics must precede any logical attempt to address the imbalance in achievement outcome. Consequently, this thesis addressed the research question, “How do improvising jazz vocalists differ significantly from their instrumental counterparts?” The research began by examining and collating the wealth of existing citations of differences found in literature. Thirty-seven perceived differentiations of vocalists were identified and used to provide a preliminary benchmark for the investigation. A two-phase mixed methods study was then designed to explore the nature of each differentiation. Phase one employed a quantitative, anonymous, online survey of 209 Australian jazz vocalists and instrumentalists, investigating their perceptions and experiences of jazz performance and education. The computer program PASW was used to conduct chi square analysis of the datum to determine statistically significant differences. In phase two, 22 qualitative interviews were conducted with Australian jazz vocal performers and/or jazz educators in Australian tertiary institutions. The computer program NVivo was used to assist the organisation of data for thematic analysis by the researcher. A side-by-side presentation of quantitative and qualitative data facilitated comparison and enabled clarity in identifying congruency in the findings. Discussion integrated results and extrapolated meaning.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.

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Pinto, Waldir de Amorim. "Nico Assumpção and jazz bass improvisation." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1049.

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The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.
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Tumlinson, Charles D. (Charles David). "Theoretical Constructs of Jazz Improvisation Performance." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279169/.

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The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?
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Waern, Peder. "Improvisation i fokus : övning av improvisation i jazzmusik." Thesis, Kungl. Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1121.

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Foreman, Iain. "The culture and poetics of jazz improvisation." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/28799/.

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How is the jazz language inventive in spite of the objective limits that delineate and govern it? This fundamental question is examined in light of the musical practices of young jazz musicians with whom I conducted fieldwork in Los Angeles from 2002-2003. Their insights enabled me to outline four dimensions of theoretical enquiry into improvisation: the formal, the historical, the phenomenological and the hermeneutic. By placing these four levels in a dialogue, a productive dialectic emerges which provides a rejoinder to deconstructive musicology's inability to understand the jazz language's capacity to transcend its structure and create and express new meanings. As improvising jazz musicians blur the distinctions between analysis and performance, the process of improvisation can also help to cultivate a more productive dialogue between the 'outside' and 'inside' of music, structure and experience, texts and extemporisations, and cultural reality and poeisis. The dissertation follows each of the four analytical-interpretive levels and explores the ways in which musicians relate to them. I begin with an analytical exegesis of the objective rules and codes which constitute the basis of substantial portions of contemporary jazz musicians' vocabularies. This discussion illustrates the symbolic nature of the jazz language and its role as a repository of shared understandings in which individuals and the jazz community form their stylistic identities. This analysis in turn engenders a historiography of the language and the process of canon formation. I illustrate this process by paying special attention to John Coltrane's composition 'Giant Steps', which I relate to Bourdieu's notion of symbolic capital. However, despite a growing anxiety among jazz musicians concerning the workings of power, ideology, and strategies to sound 'hip' in improvised performances, these same musicians were dedicated to experiencing improvisation beyond the inertia of power hierarchies and discourses. A phenomenological analysis, in response to this inertia, focuses attention on aspects of playing music as it emerges in play. However, rather than grounding these experiences within the realm of immediate, intuitive knowledge - which neglects the mediating role of the jazz language in shaping experience - I have found it necessary, through the final hermeneutical level based on Ricoeur's threefold mimesis, to return dialectially to the formal, analytical aspects of the jazz language as a symbolic system. This language thus enables us to both relate to the world and foster interpretive access to self-understanding. In response to the initial question, I illustrate that the transformative power of improvisation resides not in a representation or reduplication of cultural reality; rather it addresses itself to the deeply rooted potentialities of reality absent from the actualities of everyday life.
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Katuszonek, N. M. "Jazz, pop, improvisation, national identity and the role of the jazz drummer." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/32827/.

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This research is focused on the interrelationship between three themes: the identity of contemporary jazz, the relation between contemporary jazz and popular music, and thirdly, jazz and national identity. Using this triangulation, I examine the constructed nature of musical practice, interrogating the notion that the distinctions between music, whether it is genre specific or geographically determined, are natural and innate. Linking theory to practice, I examine how the areas of my research described above, feed into my role as a professional, contemporary jazz drummer. The restricting effect of defining the role of the contemporary jazz musician in rigid, genre-centred definitions is questioned through examining jazz’s relationship with popular music and the music’s’ standing in the hi-art vs. popular culture debate. This area is practically explored in the performance projects through the juxtaposition of both popular repertoire and technical approaches to popular styles with contemporary jazz performance conventions. The notion of jazz and national identity is examined through reflecting on the personal experiences of my role as an arranger and performer operating in Norway and the UK. Specifically, this research will seek to enhance our understanding of the roles the drummer has to play in negotiating the codes and rules used in this area of creative music making. My research is based on a practice-led methodology pursued through two sets of comparative performance projects that have evolved over the last three and a half years. This work utilizes the process of creating the music, live performances and recordings as case studies for comparison and analysis. The content of each performance project provides a platform for me to engage with the specific areas outlined in the thesis and I use practice as a means of raising and exploring questions and explaining codes and conventions.
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Kissenbeck, Andreas. "Diastematische Aspekte der Jazzimprovisation /." Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-3003-4.htm.

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Books on the topic "Jazz improvisation"

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Creative jazz improvisation. 3rd ed. Upper Saddle River, N.J: Prentice Hall, 2001.

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Copeland, Elizabeth. Jazz: Nature's improvisation. Toronto: Quattro Books, 2014.

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Reeves, Scott D. Creative jazz improvisation. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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Yoder, M. Daniel. Beginning jazz improvisation. Upper Saddle River, N.J: Prentice Hall, 1996.

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Reeves, Scott D. Creative jazz improvisation. Englewood Cliffs, N.J: Prentice Hall, 1989.

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Creative jazz improvisation. 4th ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2007.

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Teaching improvisation in jazz ensemble: Connecting improvisation with jazz ensemble charts. Lanham, [Md.]: Rowman & Littlefield Education, 2008.

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Bendigkeit, Dave. Jazz improvisation for all instruments. Belmont, CA: D. Bendigkeit, 1985.

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Weir, Michele. Vocal improvisation. [Rottenburg N., Germany]: Advance Music, 2001.

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Fisher, Jody. Mastering jazz guitar improvisation: The complete jazz guitar method. Van Nuys: Alfred Publishing, 1995.

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Book chapters on the topic "Jazz improvisation"

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Terefenko, Dariusz. "Basic Improvisation." In Jazz Theory, 99–112. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-10.

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Terefenko, Dariusz. "Bebop Improvisation." In Jazz Theory, 152–72. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-14.

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Terefenko, Dariusz. "Basic Improvisation." In Jazz Theory Workbook, 37. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-10.

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Terefenko, Dariusz. "Bebop Improvisation." In Jazz Theory Workbook, 51–53. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-14.

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Reeves, Scott, and Tom Walsh. "Free Improvisation." In Creative Jazz Improvisation, 265–80. 5th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/b22837-21.

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Reeves, Scott, and Tom Walsh. "Intervallic Improvisation." In Creative Jazz Improvisation, 320–37. 5th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/b22837-24.

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Stover, Chris. "Jazz, improvisation, community." In Musical Ecologies, 212–26. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003254508-18.

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Reeves, Scott, and Tom Walsh. "Practicing and Performing Jazz." In Creative Jazz Improvisation, 3–11. 5th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/b22837-2.

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Reeves, Scott, and Tom Walsh. "The ii V I Progression and Functional Harmony." In Creative Jazz Improvisation, 59–84. 5th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/b22837-7.

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Reeves, Scott, and Tom Walsh. "Melodic and Harmonic Minor Scales, and Minor/Major 7th Chords." In Creative Jazz Improvisation, 209–27. 5th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/b22837-17.

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Conference papers on the topic "Jazz improvisation"

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Quick, Donya, and Kelland Thomas. "A functional model of jazz improvisation." In the 7th ACM SIGPLAN International Workshop. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3331543.3342577.

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Hoffman, Guy, and Gil Weinberg. "Gesture-based human-robot Jazz improvisation." In 2010 IEEE International Conference on Robotics and Automation (ICRA 2010). IEEE, 2010. http://dx.doi.org/10.1109/robot.2010.5509182.

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Michalec, Lukasz, and David A Banks. "Information Systems Development Methodologies and all that Jazz." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.

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This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.
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Ryu, Sam, Arun S. Duggal, Caspar N. Heyl, and Zong Woo Geem. "Mooring Cost Optimization via Harmony Search." In ASME 2007 26th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2007. http://dx.doi.org/10.1115/omae2007-29334.

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A mooring system optimization program has been developed to minimize the cost of offshore mooring systems. The paper describes an application of the optimization program constructed based on recently developed harmony search optimization algorithm to offshore mooring design which requires significant number of design cycles. The objective of the anchor leg system design is to minimize the mooring cost with feasible solutions that satisfy all the design constraints. The harmony search algorithm is adopted from a jazz improvisation process to find solutions with the optimal cost. This mooring optimization model was integrated with a frequency-domain global motion analysis program to assess both cost and design constraints of the mooring system. As a case study, a single point mooring system design of an FPSO in deepwater was considered. It was found that optimized design parameters obtained by the harmony search model were feasible solutions with the optimized cost. The results show that the harmony search based mooring optimization model can be used to find feasible mooring systems of offshore platforms with the optimal cost.
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