Dissertations / Theses: '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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Williams, Thomas. "Strategy in contemporary jazz improvisation : theory and practice." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/842640/.

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The ability to improvise is one of the most demanding for a jazz musician, and “one of the most complex forms of creative behaviour” (Beaty, 2015). Jazz musician accounts attest to this, describing how improvisation is fraught by “limitless challenges under tremendous pressure” (Berliner 1994:239). In mastering such a skill, a musician must be able to navigate musical space efficiently, carving out novel pathways through harmonic, melodic, timbral, and structural units of organisation, whilst simultaneously responding to interaction within the ensemble, gestural cues, and constructing a dynamic arc to the improvisation. While the importance of improvisation to a contemporary jazz musician cannot be understated, its inception and development as a cognitive skill is not completely understood. How does a musician learn to improvise? How does a musician form a vocabulary or style of improvising? To what extent is an improviser relying on pre-learned patterns, vocabulary, and schema? Why is it that the majority of expert level improvisers are unable to explain the development of their improvisations? What then are musicians really thinking about when they improvise? The research conducted draws focus on these issues, providing a new model of the generative mechanisms involved in improvising. Through an in-depth theoretical modelling and analysis of improvisational strategies, and a heuristically led practical study, this thesis addresses how concept based improvisational strategies might be adopted and assimilated. The focus of this study lies in the post-bebop contemporary jazz landscape and aims to demonstrate how strategy based generative mechanisms are developed and used in improvisatory practice. The theoretical underpinning of this thesis amalgamates recent research in improvisation cognition (including research by Martin Norgaard, Philip Johnson-Laird and Aaron Berkowitz), existing musical treatise,psychological studies and seminal jazz scholarship accounts of improvisatory practice. The second half of this thesis is a practice led inquiry, framed around contemporary jazz fusion guitarist Wayne Krantz and the assimilation of his use of strategy based generative mechanisms.

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Amartinesei, Andrei. "Fokus på treklanger : En studie i jazz-improvisation." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-61446.

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Jazzimprovisation är ett moment i min övning som jag till och från upplever som omöjligt att behärska. Särskilt svårgreppat kan det kännas då alla lärare jag haft mer eller mindre antytt att konsten att improvisera är ett oändligt uppdrag. Den generella uppfattningen verkar vara att man aldrig blir färdig, helt enkelt. Mitt mål var att i alla fall att höja nivån och min stilkännedom inom grenen genom att noggrant studera något som alltid dyker upp när man diskuterar jazzimprovisation (och all annan musik också för den delen). Nämligen treklanger. Jag har utformat ett övningsschema som består av egna förslag på hur man kan närma sig treklangerna för att skapa en vokabulär som är gångbar inom just jazzen. Jag har också fått med mig en del gitarrteoretiska/tekniska moment som garanterat kommer att gynna mitt spel i framtiden. Exempel på sådana är nya fingersättningar samt en bättre förståelse för melodisk riktning i form av överlagringar och måltoner.

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Franz, David Matthew. "Markov Chains as Tools for Jazz Improvisation Analysis." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36831.

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This thesis describes an exploratory application of a statistical analysis and modeling technique (Markov chains) for the modeling of jazz improvisation with the intended subobjective of providing increased insight into an improviser's style and creativity through the postulation of quantitative measures of style and creativity based on the constructed Markovian analysis techniques. Using Visual Basic programming language, Markov chains of orders one to three are created using transcriptions of improvised solos by John Coltrane in his song Giant Steps. Still considered as statistical data, the Markov chains are examined and information is extracted from them through the development of several statistical tools for musical analysis. Two general categories of tools for analysis are developed: Subtraction matrices and graphical comparisons of distributions. Using these tools and the raw Markov chain data for musical analysis, quantitative measures for creativity and style are postulated. These measures are based on previously developed models and definitions of creativity and style taken from the literature. The information acquired from the implementation of the analysis tools is applied to the models in order to provide a theoretical basis for the development of the quantitative measures and a framework for the interpretation of the information. Guilford's Structure of Intellect model is used for developing creativity measures and Heen's model of the constructs of style analysis is used for determining measures of style. Overall, this research found that Markov chains provide distinct and useful information for musical analysis in the domain of jazz improvisation. Many examples of Markov chains are enumerated and tools for analysis are developed that implement the Markov chains. It is then explained how Markov chains and the tools for their analysis can be interpreted to determine quantitative measures of creativity and style. Finally, this thesis presents conclusions on Markov chain portrayals, new analysis tools and procedures, quantitative measures of creativity and style, and, in sum, that Markovian modeling is in fact a reasonable and useful modeling approach for this application.
Master of Science

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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.

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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.

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Lindberg, Mattias. "Hitta flow i improvisation : en musikalisk resa genom livet." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1496.

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Dean-Lewis, Tim. "Playing outside : excursions from the tonality in jazz improvisation." Thesis, City University London, 2001. http://openaccess.city.ac.uk/8397/.

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This thesis examines strategies employed by jazz musicians when they temporarily leave the underlying tonality whilst improvising. The Introduction defines the use of terms such as "outside" and examines texts from the literature. Further. a chronology of the evolution of "playing outside" is proposed. Notation and analysis of twenty short excerpts is given in Chapter 1. along with summary material. This summary material groups "out' playing into three sets: motivic. scalar and spatial. Issues such as common scale choices. placement and the use of compensatory material are also examined. Chapter 2 contains notation and analysis of part of John Coltrane's solo from "Acknowledgement" (from "A Love Supreme"). The analysis reveals a high level of premeditation in this piece. from the choice of the motif to the ordering of transpositions in bars 137-172. Further. two possible sources for these bars are suggested: (a) a construction of transpositions designed to cover the chromatic set and (b) the Mother and Grandmother chords to be found in Slonimsky's ''Thesaurus" (1947). The latter possibility builds upon and supports the work of Demsey (1991). At the end of this chapter is an examination of three pieces by Eric Dolphy. followed by postulations regarding similarities between Dolphy's composition '"245" and Coltrane's "A Love Supreme". Chapter 3 concerns "Chain" strategies employed by Robert Irvin- III on Miles Davis albums ''Decoy" (1984) and "You're Under Arrest' (1985). These strategies are shown to have spatial origins. but to be generally employed in order to maximise the contrast between adjacent chain elements against the underlying tonality. Chapter 4 examines Steve Coleman's published "Symmetry" and "Sum" systems and assesses their use in "Cross-Fade'' (from "Black Science" (1990)). These systems are shown to be natural extensions of Steve Coleman's musical philosophy. Notation and analysis shows that they are highly integrated within his performance and that some elements of his improvisations are premeditated. A final set of conclusions is drawn in Chapter 5. along with ideas for future projects. Related appendices follow.

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Birkett, James Gordon. "Gaining access to the inner mechanisms of jazz improvisation." Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240786.

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Jones, Timothy Germain 1973. "Jazz, improvisation, and streetscapes : guidelines for in-fill development." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/67547.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 92).
How can we design in-fill buildings that are frankly new and dynamic, yet respectful and engaging of the context of the streetscape? Improvisational jazz is a form of music whose practitioners seek to integrate the familiar and the novel into a unified composition. Certain practices guide performers in achieving these dynamic syntheses of new and old. These practices may provide fresh insights into achieving such a synthesis in the streetscape. This thesis examines the elements, composition, and practices of improvisational jazz for potential application to the compositions of streetscapes, specifically the design of in-fill buildings. It analyzes analogous elements, composition, and practices in the design of the building facades, tests these ideas in an analysis of two case studies, and makes recommendations for urban design.
by Timothy Germain Jones.
S.M.

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Björk, Anders. "Lösa boliner : Att Komponera med improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2745.

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Lothwesen, Kai Stefan. "Klang - Struktur - Konzept : die Bedeutung der neuen Musik für Free Jazz und Improvisationsmusik /." Bielefeld : Transcript, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3108879&prov=M&dok_var=1&dok_ext=htm.

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Häggblom, Pontus. "Att ta sig över hinder : vägen mot ett friare skapande : skriftlig reflektion inom självständigt, konstnärligt arbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1364.

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Nilsson, Oskar. "Vuxna män leker : en reflektion kring fri improvisation som kompositionsmetod i stunden : skriftlig reflektion inom självständigt, konstnärligt arbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1367.

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Norin, Johan. "I Parti & Minut." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1827.

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Re, Adrien Marcus. "The role of transcription in jazz improvisation : examining the aural-imitative approach in jazz pedagogy." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285406.

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Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedures, methods and materials used have abandoned the aural-imitative tradition. This study examines the current use of and the viability of future jazz education methods based primarily on aural-imitative procedures.Forty-one jazz faculty from universities and colleges throughout the United States participated in an interview process. An open-ended questionnaire survey was used to elicit responses. Each was asked a series of questions directly related to transcribing. The responses were recorded via cassette and were transcribed verbatim. In addition, four music teachers at schools at four schools for the blind were asked a similar series of questions. Their interviews responses were analyzed for similarities and differences.The results suggest that current methods do not contain adequate aural representations and that transcription could be a viable alternative to current methods. A practical system based on the transcription paradigm could and should be developed. Current digital technologies and Internet developments may help facilitate an all-transcription based methodology. Certain recordings and solos have become recognized as `masterpieces' that deserve to be transcribed and studied. The insights gained from school for the blind suggest that certain musical aspects may be beet gained from an aural-centric perspective.
School of Music

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Olsen, Patrick Garrett. "Assessing improvisation in graded music examinations : conflicting practices and perceptions." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290079.

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For a practice that has influenced the development of most of the musical techniques and compositional forms of Western music (Ferand, 1965, p.5), 'improvisation' is challenging to define. Recently, the graded music examinations offered by the two largest UK-based music examination boards, the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL), have added options to assess improvisation within their instrumental curricula without clearly defining what they mean by 'improvisation' or how they assess it. This thesis argues that the lack of consistent definitions by the two leading examination boards results in a lack validity and meaning since it is unclear to examination stakeholders (music teachers, students, examiners and syllabus authors) exactly what is being assessed and how. This thesis investigates how 'improvisation' is defined, practiced, assessed and perceived within instrumental graded musical examinations. Evidence addressing the perspectives of the teaching-and-learning stakeholders is drawn from case-study observations and interviews of instrumental music lessons while candidates prepared for and completed an examination requiring improvisation. The perspectives of the examination board stakeholders are investigated through document analysis of the syllabuses, curricula and institutional websites of the examination boards in addition to interviews with examination board executives. The findings provide an initial investigation into an unexplored intersection of music education, improvisation and the business of graded examination boards. A clearer understanding emerges of the cultural and social practices of improvisation both inside and outside of the hegemony of graded examinations and the teaching-and- learning communities that support them. The findings of this thesis challenge the examination boards and bring more clarity to their assessment practices. and can help guide music teachers and students through the currently unclear landscape of improvisation in the ABRSM and TCL examinations.

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Laughlin, James Edwin. "The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improvisers." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/laughlin%5Fjames/index.htm.

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Strazzullo, Guy. "An intercultural approach to composition and improvisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051013.095017/index.html.

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Hanspers, Erik. "Musikalisk utveckling genom improvisation och komposition : skriftlig reflektion inom självständigt, konstnärligt arbete." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1359.

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Flora, Sim A. "An analytical anthology of improvised solos designed to supplement the formal teaching of jazz improvisation and jazz theory at the university level /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Coss, Roger G. "A Phenomenological Inquiry into the Process of Teaching Jazz Improvisation." Scholarly Commons, 2016. https://scholarlycommons.pacific.edu/uop_etds/5.

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In seeking to further exploration on the relationship between jazz improvisation and creativity, this study describes the pedagogical beliefs and practices utilized by jazz educators for the teaching of improvisation as a creative process. Improvisation has been an integral feature of the jazz performance tradition for well over a century. However, the field of creativity studies has only recently come to recognize improvisation as a site for the creative process. While the jazz performance tradition has traditionally operated with a more collaborative and community-based pedagogical model based on various playing opportunities such as apprenticeships and participation at local jam sessions, the growth of jazz courses and degree programs has raised questions on the efficacy of current teaching practices within academia. The following central research question guided this study: What is the relationship between jazz improvisation and creativity? A qualitative methodology served as a theoretical underpinning for framing two supportive research questions: (1) What pedagogical beliefs do jazz educators hold in how they conceptualize improvisation as a creative process? (2) What are the pedagogical practices utilized by jazz educators in teaching improvisation as a creative process? This study utilized Moustakas’ transcendental, phenomenological research design and defined the phenomenon as the process of teaching jazz improvisation. Seven expert jazz educators situated in a variety of teaching contexts throughout Northern California were selected as participants using purposeful, snowball sampling strategies. Twenty themes emerged and were organized through four features of improvised music found across a variety of genres: creative, spontaneous, social, and accessible. These findings challenge de-socialized ways of teaching and learning creativity and add to the knowledge base on the teaching beliefs and practices of jazz educators within the fields of creativity, jazz, and music education. In providing valid data through semi-structured interviews, observations of the participants in a teaching context, and documents such as syllabi, student handouts, and music recordings, this study is intended to inform jazz educators and academics of the importance of collaborative, fully-immersed learning opportunities for the development of the skills needed for jazz improvisation.

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Sharp, Paul. "A critical study of George Russell's method of jazz improvisation." Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492386.

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Hediguer, Max Bayer Francis. "Conceptualisation et esthétique de l'improvisation dans le jazz : ses relations avec les systémes musicaux, les dénominations, les nomenclatures et les notations harmoniques ou mélodiques en usage /." [Paris] : [M. Hediguer], 1997. http://catalogue.bnf.fr/ark:/12148/cb40024414n.

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Beausoleil-Morrison, Rachel Chantal. "Montreal jazz vocalists, the relationship between their status and improvisation, and the canons of jazz (Quebec)." Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8536.

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This thesis deals with jazz singing as it is experienced in Montreal. It examines the interplay between social and musical aspects of vocal jazz. The first chapter deals with the canons of jazz, that is, the established standards within or against which jazz singers construct their vision of vocal jazz. The second chapter examines the status of singers within the larger jazz community, and that of the voice within the jazz ensemble. The third chapter deals with the musical practices of vocalists and techniques in vocal improvisation. This thesis shows how the status of jazz vocalists is inextricably tied to issues of gender and race, and is therefore embroiled in the politics of representation of the jazz world. It also shows that jazz vocalists have been largely dismissed in these politics, and in the process, the specificity of their contribution and means of transmission have hardly been documented. The focus of this study on vocal jazz in Montreal aims to fill this gap in the literature. It also aims to promote the recognition and appreciation of the complexities and subtleties of jazz singing.

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Gee, Travis (Travis Lloyd) Carleton University Dissertation Psychology. "Mental factors in jazz performance." Ottawa, 1992.

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Rögnvaldsson, Sigurdur. "Musikaliskt skapande : improvisation och komposition i olika sammanhang." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-101.

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Gustafsson-Ny, Isabell. "Att göra : reflektion kring en konstnärlig och inre process." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2052.

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Dasika, Niran Jay. "Applications of Béla Bartók's techniques of pitch organisation to jazz improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2408.

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The music of Hungarian composer Béla Bartók (1881-1945) reconciles hauntingly lyrical beauty with harsh, atonal dissonance, appealing to music fans, musicians, and theorists alike for over a century and suggesting a rich resource of inspiration for improvising musicians. The composer Pierre Boulez commented that “Whether it is in a brutal violence animating a sound material in fusion, or in a tranquil gentleness glowing in a halo of grating sounds and colours… Bartók is incomparable and remains unique”. Informed by Bartók theorists Elliott Antokoletz, János Kárpáti, Erno Lendvai, and by Bartók’s own writings, this research identifies four melodic techniques: ‘mistuning’, ‘chromatic compression and diatonic extension’, ‘polymodal chromaticism’, and ‘inversional symmetry’. These four techniques inform a reflexive practice-led research project developing a collection of practice methods aimed at internalising and executing the techniques in improvised performance. The resulting practice methods were implemented and documented over a one-year period, exploring and evaluating concepts of automaticity and motor program theory. The research culminates in a collection of recordings along with this exegetical text reflecting on the process and results of the research. This project aims to expand my improvising practice, fuel the creation of new, interesting music, and to generate insights into ways other musicians and jazz students may approach the work and analysis of composers such as Bartók as a source of inspiration.

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Saint-Paul, Jean-Michel. "L'électro-jazz européen : (influences, diversités, et cristallisation d'un style)." Paris 8, 2010. http://octaviana.fr/document/159662982#?c=0&m=0&s=0&cv=0.

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Ce travail tente de caractériser l'électro-jazz en tant que style musical, ayant émergé dans les années 90. On y traite des influences musicales, aussi bien issues des recherches de Miles Davis, du funk de Herbie Hancock, du style de Pat Metheny ou encore de celui de Terje Rypdal. Lié à l'orientation artistique et commerciale du label ECM. , l'électro jazz se caractérise sur le plan esthétique par des atmosphères aériennes, souvent suggérées par la création graphique des pochettes de disques. Sur le terrain européen et scandinave, ECM aura contribué à un répertoire de l'électro-jazz particulièrement innovant sur le plan esthétique dans le mariage entre les éléments musicaux acoustiques et électroniques, intégrant les trames rythmiques issues du dancefloor, et incorporant des motifs mélodico-rythmiques des musiques populaires électroniques, qui lui ont été contemporaines. Le style de l'électro-jazz a été perçu comme rafraîchissant dans le milieu jazzistique, quoique de nos jours, quelque peu épuisé. Dans l'hypothèse d'un renouvellement stylistique, sinon d'une mutation, on s'intéressera aux travaux, entre autres, de Georges Lewis, ainsi que de Steve Coleman, qui, dès la fin des années 80, proposent une alternative quant aux relations entre les improvisateurs, le matériau instrumental et l'électronique. En effet, ces jazzmen ont mis en avant la rencontre avec un dispositif informatique interactif. La diffusion de ce jazz reste cependant confidentielle, visant une communauté restreinte et ne rentrant pas encore dans une logique commerciale. La rencontre entre le langage jazzistique et un dispositif interactif semble néanmoins être une ouverture intéressante pour le jazz électronique futur
This work tries to characterize the electro-jazz as a musical style, which has emerged in the middle of the nineties. We analyze a wide range of musical influences coming from Miles Davis, Herbie Hancock’s funk, Pat Metheny or Terje Rypdal. Linked to the artistic and commercial orientation of the ECM label, the electro-jazz presents aerial atmospheres, often suggested by the graphics on the cover discs. In Europe and Scandinavian countries, ECM has contributed to a particular and innovative repertoire for the electro-jazz on an aesthetical aspect. The label has mixed acoustic and electrical musical elements, by integrating melodico-rhythmical motives from contemporary electronic popular musics. Electro-jazz style has been perceived as a new refreshing music for jazz, but nowadays much less. In the hypothesis of an aesthetical renewal, or a mutation, we will focus on George Lewis and Steve Coleman works, who since the beginning of the eighties have proposed an alternative way for relationships between improvisers, the instrumental material and the electronic. Those jazzmen have shown an interest towards the encounter with an interactive computer system. The diffusion of this jazz is still confidential, and this music is heard by a little community. It does not follow a commercial prospect. The mix between jazz language and an interactive system seems to be an interesting new way for the future electronic jazz

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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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de, Jong Susan Johanna. "The Art Of Lyric Improvisation: A Comparative Study of Two Renowned Jazz Singers." Thesis, University of Canterbury. School of Music, 2008. http://hdl.handle.net/10092/1666.

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This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.

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Russell, Helen Margaret. "A Cappella Harmony Singing and Its Effects on Aural Perception in Jazz Students’ Improvisation Skills." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366954.

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This project investigates the aural and musicianship skills of students enrolled in a Bachelor of Jazz Studies Course, with the ultimate goal of improving their improvisation skills. At the core of the project is the idea that students consolidate their theoretical knowledge and link it with their aural skills when they use their voices in an ensemble, rather than relying on their instrumental skills. Participating students were surveyed to gain insight into their thoughts about the effect that the musicianship skills gained during class had on their improvisation skills. Data has been gathered regarding methods of ear training in current use in various jazz schools in Australia as well as surveying current theories of the importance of ear training in jazz education and the extant modes of delivery. Throughout the project repertoire was arranged especially for each group in accordance with the desired learning outcomes. The final result of the project is a syllabus for conducting the course, which is known as A Cappella Ear Training, including excerpts from the author’s arrangements and instructions for delivering the course content.
Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
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42

Jonsson, Sebastian. "Möte mellan konst- och jazzmusiker : -utmaningar och lärdomar." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3601.

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In collaborations with jazz musicians and classical musicians, the focus has traditionally been on the composer. In this thesis, I have focused on the musicians in the project instead. The most important thing was to explore what could be learnt in such meetings and what challenges you might face. I have examined this in four topics: 1. Composition 2. Interpretation 3. Rehearsing 4. Improvisation In the project, I composed five pieces inspired by both jazz and European classical composers. To understand classical phrasing and to implement it in my own playing, I studied for classical teachers. In order to include classical musicians, so I developed several methods. Working closely with the classical musicians made the contrasts between the genres clearer. The contrasts between jazz and the classical way of working and playing made my tendencies more apparent and I became more aware, and in control over the way I played.

Ljud och bildupptagning gjordes under konserttillfället. Erik Tengholm vikarierade då på trumpetplatsen.

Kompositionerna i arbetet och de medverkande var som följer.

Styrfart

Komposition: Sebastian Jonsson

Medverkande:

Sebastian Jonsson, altsaxofon

Kajsa Nilsson, tvärflöjt

Sabina Scott, oboe

Hugo Olsson, klarinett

Astrid le Clercq, klarinett och basklarinett

Victor Andersson, altsaxofon

Fredrik Jergle Almquist, fagott

Britta Virves, piano

Anders Langørgen, kontrabas

Jonas Bäckman, trummor

The Crow

Komposition: Sebastian Jonsson

Medverkande:

Sebastian Jonsson, altsaxofon

Kajsa Nilsson, tvärflöjt

Sabina Scott, oboe

Hugo Olsson, klarinett

Astrid le Clercq, klarinett och basklarinett

Emma Granstam, trumpet

Lars Ullberg, trombon

Anders Langørgen, kontrabas

8

Komposition: Sebastian Jonsson

Medverkande:

Sebastian Jonsson, altsaxofon

Kajsa Nilsson, tvärflöjt

Hugo Olsson, klarinett

Astrid le Clercq, klarinett och basklarinett

Emma Granstam, trumpet och flugelhorn

Lars Ullberg, trombon

Anders Langørgen, kontrabas

Jonas Bäckman, trummor

Golem

Komposition: Sebastian Jonsson

Medverkande:

Sebastian Jonsson, sopransaxofon

Kajsa Nilsson, tvärflöjt

Sabina Scott, oboe

Hugo Olsson, klarinett

Astrid le Clercq, klarinett

Victor Andersson, altsaxofon

Fredrik Jergle Almquist, fagott

Emma Granstam, trumpet

Lars Ullberg, trombon

Britta Virves, piano

Anders Langørgen, kontrabas

Jonas Bäckman, trummor

Den inte så lille tennsoldaten

Komposition: Sebastian Jonsson

Medverkande:

Sebastian Jonsson, altsaxofon

Kajsa Nilsson, tvärflöjt och piccola

Hugo Olsson, klarinett

Astrid le Clercq, basklarinett

Emma Granstam, trumpet

Lars Ullberg, trombon

Britta Virves, piano

Anders Langørgen, kontrabas

Jonas Bäckman, trummor

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Simon, Scott J. "A multi-dimensional entropy model of jazz improvisation for music information retrieval." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4929/.

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Jazz improvisation provides a case context for examining information in music; entropy provides a means for representing music for retrieval. Entropy measures are shown to distinguish between different improvisations on the same theme, thus demonstrating their potential for representing jazz information for analysis and retrieval. The calculated entropy measures are calibrated against human representation by means of a case study of an advanced jazz improvisation course, in which synonyms for "entropy" are frequently used by the instructor. The data sets are examined for insights in music information retrieval, music information behavior, and music representation.

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Eriksson, Markus. "Hur fångar man musiken? : Fem olika jazzmusikers tankar och resonemang kring begreppet improvisation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8730.

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I denna uppsats försöker jag beskriva vad begreppet improvisation innebär inom jazzmusik. Ämnet improvisation är för mig väldigt viktigt, det är ett ämne som jag valt att specialisera mig på i min musikhögskoleutbildning. Min förmåga att improvisera har hjälpt mig i många situationer i livet, framförallt sådana situationer där det gäller att kunna vara flexibel, till exempel spel- eller musikundervisningssituationer. Undersökningen baseras i huvudsak på intervjuer med fem olika svenska jazzmusiker. Jag har kommit fram till att begreppet improvisation är komplext och svårdefinierat. Det finns dock vissa, vanligen återkommande, viktiga ingredienser inom improvisation som definierar vad som är kvalitet, bra eller dåligt. Improvisation är en social sysselsättning. Det handlar om att vara lyhörd, att påverkas av sin omgivning. Samtidigt måste man som musiker ha goda instrumentfärdigheter för att obehindrat kunna uttrycka de musikaliska idéer som kommer till dig i stunden. Det finns många likheter med att lära sig ett språk. För att bli en god improvisatör så krävs det att man tänker på vad man spelar och varför på samma sätt som vi i vardagliga livet reflekterar över vår personlighet och våra handlingar.
In this essay I will try to determine the meaning of the word improvisation within the field of jazz music. The survey is based on five different interviews with jazz musicians. In my inquiry, I have found that the word improvisation is complex and difficult to explain. There are however, some common, key ingredients that can define quality in an improvisation. Improvisation is a social activity. It is about having a keen ear to what´s going on around you. In addition to this, you need, as a musician, good instrumental skills to be able to express the musical ideas that come to you. There are many similarities to learning a language. To be a good improviser you need to think about what you play and why you play it, in the same way that we, in everyday life, reflect on our personality and our actions.

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Smith, Derek T. "Development and validation of a rating scale for wind jazz improvisation performance." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4684.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 13, 2007) Vita. Includes bibliographical references.

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Leal, Jonathan J. "Across Borders and Barlines: Chicana/o Literature, Jazz Improvisation, and Contrapuntal Solidarity." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500033/.

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In this study, I examine Chicana/o writings and Black and Brown musical traditions as they entwine in urban centers and inform local visions of inclusion and models of social change. By analyzing literature and music from South Texas, Southern California, and Northeastern Michigan, I detail how the social particularities of each zone inform Chicana/o cultural productions rooted in the promise of empowerment and the possibility of cross-cultural solidarity. I assert that highlighting localized variations on these themes amplifies contrapuntal solidarities specific to each region, the relationship between different, locally conceived conceptions of Chicana/o identity, and the interplay between Brown and Black aesthetic practices in urban centers near national borders. Through literary critical and ethnomusicological frameworks, I engage the rhetorical patterns that link poetry, jazz improvisation, essays, musical playlists, and corridos to illumine a web of discourses helping to establish the idiosyncratic yet complimentary cultural mores that shape localized social imaginaries in the United States.

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Tarr, Christopher J. "Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1921.

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Little formal research has been undertaken into the processes associated with jazz improvisation, particularly those associated with practising to become an elite jazz improviser. This study seeks to understand the role of instrumental practice, particularly physical practice strategies and the associated mental states, in the development of jazz improvisers. Interviews were conducted with six improvisers of various ages, instruments and backgrounds. The study identified a number of strategies specific to jazz practice that differed from traditional practice strategies described in Western art literature, particularly in relation to the importance of the ear-to-instrument connection. Accordingly, the study sets out a series of recommendations relating to practice for those aspiring to become master jazz performers.

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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "An intercultural approach to composition and improvisation." THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries
Master of Arts (Hons.)

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49

Evans, Rebecca Jane. "Time Out of Mind : the experience of being in time in musical improvisation." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100191/document.

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Ce travail s’attache à étudier l’interaction en direct entre musiciens de jazz, en se focalisant sur un des éléments les plus fondamentaux dans la performance improvisée, l’acte de jouer dans le temps avec un autre. Que se cache-t-il derrière cette qualité engageante de la musique quand des musiciens collaborent et se coordonnent entre eux pour qu’ils aient le sentiment de jouer ensemble dans le temps (selon leur propre expression)? Afin d’étudier les fondements musicaux et psychologiques de cette expérience, nous créons des liens entre la recherche ethnographique existante sur les pratiques de jazz et les études psychologiques sur le temps et sur le timing. Cette thèse comprend trois études empiriques. La première étude a cherché à décrire l’émergence de cette expérience du temps partagé dans des performances d’improvisation libre entre deux musiciens de jazz professionnels. La deuxième étude est une analyse quantitative de la performance d’une section rythmique (batteur et contrebassiste), qui a pour base une micro-analyse acoustique de la pulsation dans quatre versions d’une chanson. Dans la troisième étude on s’est intéressé à la façon dont des auditeurs dits ‘naïfs’ entendent une musique qui est ‘dans le temps’ ou ‘en dehors du temps’. Pour cela nous avons effectué deux études expérimentales sur la perception du timing inter-musicien par des sujets sans éducation musicale formelle, en leur présentant des extraits musicaux manipulés.Dans leur ensemble ces études fournissent des preuves quantitatives qu’il existe une négociation temporelle dynamique entre les musiciens – un partage de temps – au niveau de la pulsation. De plus, ces résultats ont démontré la place centrale du développement narratif dans la performance musicale. L’influence de la construction est manifestée tant par l’organisation spontanée des improvisations musicales en épisodes structurés que par la mise en place collaborative de trajectoires expressive au niveau du développement du tempo local. Ces trajectoires constituent d’ailleurs une interprétation de l’œuvre musicale. Ainsi, ces résultats montrent que les musiciens maîtrisent ensemble les trajectoires expressives de leurs performances, et ce à la fois au niveau de la pulsation et au niveau de la narrativité. Il découle de ce travail l’idée qu’une performance ‘réussie’ (caractérisée par un temps partagé) implique beaucoup plus de flexibilité temporelle que ce que les recherches antérieures proposent. Ces observations nous amènent à définir un forme nouvelle de timing entre musiciens, que nous appelons le timing participatif, et qui est fondé sur l’interaction interpersonnelle motivée et incarnée plutôt que sur les processus individuels de timing expressif
This dissertation investigates live interaction between jazz musicians with a focus on one of the most fundamental elements in improvisational performance, the seemingly simple act of being in time together. What is behind that powerful, engaging quality of music that comes about when musicians collaborate and coordinate so that they feel that are sharing what they themselves call good time? To investigate the musical and psychological underpinnings of good time, links were highlighted between both existing ethnographic work on jazz practices and psychological studies of time and timing. The thesis presents three empirical studies. The first study consists in a largely descriptive analysis of freely improvised jazz duet performances, and it aims to describe the emergence of good time between musicians playing together. The second study is a quantitative analysis of jazz rhythm section performance (drums and double-bass) based on an acoustic microanalysis of pulse in 4 versions of a song. The third study comprises 2 experiments on the perception of inter-musician timing by ‘naïve’ listeners, exploring how musically-untrained subjects experience the sound of being ‘in’ and ‘out of’ time in manipulated musical samples. Together, these studies provide quantitative evidence for temporal negotiation or turn-taking at the pulse level. Additionally they show the fundamental role of narrative development in musical performance evidenced by the spontaneous organisation of musicians’ improvisations into well framed episodes that have internal structure. It is also evidenced by the mutual establishment of an expressive trajectory of local tempo development that reflects or interprets the musical piece. Thus, these findings demonstrate that musicians together control their expressive performances at both an immediate pulse level and at an overarching level of narrative. An important outcome of this research is that ‘successful’ performance (one with good time) involves far greater temporal flexibility than previously established. These observations lead us to define an additional form of timing between musicians which we have called participatory timing and which is based on motivated and embodied interpersonal interaction rather than on expressive timing at the level of the individual

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50

Backer, Andreas Henrik. "Refleksjoner rundt sang og stemmebruk, improvisasjon og komposisjon i egen musikk." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1142.

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Dissertations / Theses on the topic 'Jazz improvisation'

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