Dissertations / Theses on the topic 'Music composition and improvisation'
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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 boundariesMaster of Arts (Hons.)
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Davidson, Neil. "Composition in improvisation : forms and otherwise." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2301/.
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This is a folio of compositions that interferes with composition and improvisation in practice and in theory. A resistance to theme and content is countered by proposing a very broad conception of form that brings into play anthropological and philosophical examples as well as a questioning of traditional musical forms. The pieces in general propose ways of composing and playing otherwise. The scores are interspersed with texts which engender relationships and patterns of thought pertinent to the workings of the pieces such that a critical position is articulated without resorting to longwinded argument. Audio recordings of the pieces are included at the rear of the document.
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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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Schnittgrund, Tammy Lynn. "Middle school string improvisation and composition a beginning /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07162007-160203/.
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Stanyek, Jason. "Diasporic improvisation and the articulation of intercultural music /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3129936.
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Walduck, Jacqueline Sarah. "Role-taking in free improvisation and collaborative composition." Thesis, City University London, 1997. http://openaccess.city.ac.uk/7466/.
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Role-taking, the adoption of solo, accompanying or punctuating roles by a given part or parts may exist in any form of music. In Part 1, I have argued that the structure of free improvised pieces can be articulated in terms of player-functional or material-generative roles taken by ensemble members, and that these roles may, in turn, reflect the interpersonal dynamics of the group. The first four chapters uncover possible roles, and propose a methodology for mapping the structure of improvised pieces. Part 2 is a portfolio of backbone compositions - compositions written for one or two instruments with the intention of adding further parts in collaboration with other musicians. The compositions, including the process of their realisation, make use of the roles uncovered in Part 1, leading to musical structures suggestive of long-term or large-scale human interaction. The technique is expanded to encompass interaction with another art form - film. The final piece in the portfolio demonstrates how the two media interrelate by means of an awareness of role-taking within and between them.
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Rogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.
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This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum techniques. This was done intuitively by exploring guitar techniques and konokol simultaneously. The outcome of this study was a process applied to guitar composition and improvisation. Graphic numerical tables and geometrical representations are outlined in this dissertation as a guide to understanding this process.
The second outcome of this research includes a series of Western compositions improvised and through--‐composed. This outcome explores a fundamental concept, the practical applications of konokol and mrdangam patterns to guitar composition and guitar improvisation. The appendices include a practical reference guide to many of these concepts, providing a valuable and a beneficial resource for any musician who would like to use and understand rhythmic concepts outside the Western musical tradition. A compact disc of my original compositions demonstrating my application of konokol concepts and theories to guitar composition is also included as part of this research. This dissertation presents an alternative framework and methodology to the Western canon of rhythmic knowledge and involves rethinking numbers, rhythm and phrasing in a manner that is essentially different to the Western pedagogy of rhythmic knowledge. Possible future research on the collective memory and fractal design of konokol and how this is related to memory is also proposed.
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Gifford, Toby. "Improvisation in interactive music systems." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.
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This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.
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Zadel, Mark. "A software system for laptop performance and improvisation /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98594.
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Laptop performance---performance on a standard computer system without novel controllers, usually by a solo musician---is an increasingly common mode of live computer music. Its novelty is diminishing, however, and it is frequently described as being uninteresting. Laptop performance often lacks the sense of effort and active creation that we typically expect from live music, and exhibits little perceivable connection between the performer's actions and the resulting sound. Performance software designs tend to constrict the flow of control between the performer and the music, often leading artists to rely on prepared control sequences. Laptop performers become "pilots" of largely computerized processes, detracting from the live experience.This thesis project presents an alternative software interface that aims to bring a sense of active creation to laptop performance. The system prevents the use of prepared control sequences and allows the live assembly of generative musical processes. The software resembles a freehand drawing interface where strokes are interactively assembled to create looping and cascading animated figures. The on-screen animation is mapped to sound, creating corresponding audio patterns. Networks of strokes are assembled and manipulated to perform music. The system's use of freehand input infuses the music with natural human variability, and its graphical interface establishes a visible connection between the user's actions and the resulting audio.
The thesis document explores the above issues in laptop performance, which motivated this research. Typical examples of performance software are presented, illustrating the interface design patterns that contribute to this situation. The thesis software project is presented, describing its goals, design and implementation. The properties of the interface are discussed in light of the project's initial objectives. It is concluded that the system is a solid step toward a novel approach to laptop performance software.
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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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Tse, Tai-shun, and 謝大順. "A portfolio of three compositions : improvisation as a structural device." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195957.
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As a means of musical elaboration, improvisation takes an important role in different musical genres. From impromptus and rhapsody, to traditional music such as Javanese gamelan and Cantonese opera, improvisation shapes the distinctive features of musical works, and how composition takes on the features of improvisation. Despite the distinctive modes of improvisation in accordance with specific musical conventions, such improvisation share a common ground that it does not arise from nothing but comprises something memorized or given. Improvisation can be regarded as a spontaneous creativity within constraints and convention. Composers, therefore, can explore the performance techniques of different musical instruments and the creative possibilities within certain musical conventions through the use of improvisation from time to time.
In this thesis, I seek to explore how improvisation as being operated within constraints and convention through a portfolio of three compositions. Each composition features one or two particular instruments in the improvisatory passage, i.e., sheng (Opera From a Forgotten Land), piano and flute (Improvisation Study no. 1) and electronic bass guitar (Improvisation Study no. 2). Considering the differences in the adhered musical culture and performance practice of these instruments, I shall explain the rationales behind my composition strategy.published_or_final_version
Music
Master
Master of Philosophy
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Vasilakos, Konstantinos. "An evaluation of digital interfaces for music composition and improvisation." Thesis, Keele University, 2016. http://eprints.keele.ac.uk/1606/.
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This PhD reports research on current representative performance paradigms using various interfaces for real time interaction with computer-based musical environments. Each device was selected to cover a particular range of interfaces. Research covers the following areas: hardware interfaces (tangible & game devices); live coding; optical devices, and hardware prototyping. The projects highlight affordances, comparative strengths and weaknesses, and provide suggestions for further improvements for each paradigm. Particular focus is given to the importance of mapping. Each project comprises corresponding software that was developed to facilitate each performance paradigm. The work is not intended to provide an exhaustive evaluation of the technology used in this research; instead, it aims to examine its feasibility for artistic and musical context. The outcomes of the examinations include a series of musical performances employing improvisation as the basis for composition. These paradigms are examined in a live context as well as fixed media that uses material originating in live performances.
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Bennet, David. "Sounds Within Sounds : Multiphonic possibilities of the saxophone in composition and improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4069.
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This thesis is part of the result from an explorative venture into understanding how saxophone multiphonics can be used as tools for improvisation and composition. The focus lies partly on how I found these sounds, personalized them and incorporated them into my artistic language, but more importantly, this is an attempt of thinking through art by letting the experience gained from making creative use of accidental occurrences affect future experience in an open-ended artistic process. This is done in two acts, solo-playing and duo-playing. With the solo-playing I listen for what these sounds suggest in themselves, and through this, create open compositions that are embracing their elusive nature. The duo-playing searches for sounds within sounds in a sonic map, constructed from a co-creative artistic process that allows us to zoom in on details, experience deep and spectral listening through vertical musical motion. Apart from the written words and the compositions, the artistic results consist of several recordings, presented and discussed throughout the text together with connected concepts and contexts revolving around saxophone multiphonics, composition and improvisation.Komposition: Sonic Map
Kompositörer: David Bennet & Vilhelm Bromander
Medverkande: David Bennet, Saxofon. Vilhelm Bromander, Kontrabas
Konserten är inspelad och bifogas med det skriftliga arbetet.
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Wilson, Adam James. "Automatic improvisation a study in human/machine collaboration /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386761.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from 1st page of PDF file (viewed Feb. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes sound files of examples in 44K stereo. and 96K formats. Includes bibliographical references: P. 143.
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O’Dwyer, Timothy Joseph. "The adventure of the refrain : composing with improvised music." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/63329/1/Timothy_O%27Dwyer_Thesis.pdf.
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This practice-based inquiry investigates the process of composing notated scores using improvised solos by saxophonists John Butcher and Anthony Braxton. To compose with these improvised sources, I developed a new method of analysis and through this method I developed new compositional techniques in applying these materials into a score. This method of analysis and composition utilizes the conceptual language of Gilles Deleuze and Felix Guattari found in A Thousand Plateaus. The conceptual language of Deleuze and Guattari, in particular the terms assemblage, refrain and deterritorialization are discussed in depth to give a context for the philosophical origins and also to explain how the language is used in reference to improvised music and the compositional process. The project seeks to elucidate the conceptual language through the creative practice and in turn for the creative practice to clarify the use of the conceptual terminology.
The outcomes of the research resulted in four notated works being composed. Firstly, Gravity, for soloist and ensemble based on the improvisational language of John Butcher and secondly a series of 3 studies titled Transbraxton Studies for solo instruments based on the improvisational-compositional language of Anthony Braxton.
The implications of this research include the application of the analysis method to a number of musical contexts including: to be used in the process of composing with improvised music; in the study of style and authorship in solo improvisation; as a way of analyzing group improvisation; in the analysis of textural music including electronic music; and in the analysis of music from different cultures—particularly cultures where improvisation and per formative aspects to the music are significant to the overall meaning of the work. The compositional technique that was developed has further applications in terms of an expressive method of composing with non-metered improvised materials and one that merges well with the transcription method developed of notating pitch and sounds to a timeline. It is hoped that this research can open further lines of enquiry into the application of the conceptual ideas of Deleuze and Guattari to the analysis of more forms of music.
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Yadegari, Shahrokh. "The radif as a basis for a computer music model : union of philosophy and poetry through self-referentiality /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120720.
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Thesis (Ph. D.)--University of California, San Diego, 2004.Vita. Includes computer program for No flower, no incense, only sound: P. 192-239. Sound tape contains 2 compositions by the composer and an improvisation by Ivan Manzanilla with the composer: No flower, no incense, only sound; excerpt of A-window; Mirrors of the past. Includes bibliographical references (p. 241).
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Lawrence, Tom. "Methods and ideas for the creation of 'transparent' music in the classroom." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6470.
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Methods and ideas for the creation of ‘transparent’ music in the classroom The aims of this port-folio are as follows; To provide a coherent sequence of pieces and methods which can be used to create music in an educational context and also encourage students and teachers to develop their own creativity. To provide pieces which develop student’s confidence in their own ability to create music in a variety of ways including composition, improvisation and creative leadership. To provide exercises and pieces which help to develop the listening and appreciation skills essential for ensemble musicmaking. To provide methods that enable the creation of ‘transparent music’. This is music in which the some, or all, of the decision making involved in the creation of a piece is accessible and apparent to an audience during its performance. This submission consists of a teaching book containing thirteen pieces/exercises, instructions giving guidance on their possible use in a teaching context and recorded examples. Also included are separate instructions where appropriate for the use of pieces in a concert or other non-educational setting and two essays giving context and background information on the ideas behind the pieces.
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Sastry, Avinash. "N-gram modeling of tabla sequences using Variable-Length Hidden Markov Models for improvisation and composition." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42792.
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This work presents a novel approach for the design of a predictive model of music that can be used to analyze and generate musical material that is highly context dependent. The system is based on an approach known as n-gram modeling, often used in language processing and speech recognition algorithms, implemented initially upon a framework of Variable-Length Markov Models (VLMMs) and then extended to Variable-Length Hidden Markov Models (VLHMMs). The system brings together various principles like escape probabilities, smoothing schemes and uses multiple representations of the data stream to construct a multiple viewpoints system that enables it to draw complex relationships between the different input n-grams, and use this information to provide a stronger prediction scheme. It is implemented as a MAX/MSP external in C++ and is intended to be a predictive framework that can be used to create generative music systems and educational and compositional tools for music. A formal quantitative evaluation scheme based on entropy of the predictions is used to evaluate the model in sequence prediction tasks on a database of tabla compositions. The results show good model performance for both the VLMM and the VLHMM while highlighting the expensive computational cost of higher-order VLHMMs.
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Dower, David. "Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1673.
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This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented.
Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo performance.
Techniques such as ‘splitting’ the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by assimilating techniques outside of the jazz idiom into a solo jazz piano context. These techniques were developed within compositions and arrangements. The second was an examination of the practice processes engaged when performing these techniques, including the development of rhythmic coordination to facilitate improvisation over the composed accompaniment patterns.
The outcome is an exploration of different approaches to developing confidence and aptitude in solo jazz piano performance. As well as the creation of accompaniment patterns for solo jazz piano performance, outcomes of this project include a greater descriptive understanding of the process of assimilating performance techniques onto the piano, and developing an improvisational approach over ostinato accompaniment figures. The scores, as well as recorded performances featuring improvisations over the composed accompaniments, are included with the exegesis.
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Oehlers, Jamie. "Night music (compositions, performance and improvisations) –and– Developing a chromatic-intervallic approach to jazz improvisation through reflexive practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2189.
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This research examines the processes involved in developing and applying a novel melodic jazz improvisation technique—a chromatic-intervallic approach (CIA). Improvised melodic approaches in jazz music from the 1920s until today have primarily been driven through the development of tension within melody lines by using variations of the scale/chord method and harmonic substitution. The CIA examined through my saxophone and improvisatory practice in this research explores the incorporation of melodies derived from intervallic combinations, and assesses the resulting tension within the melody through the use of the Melodic Tension Rating tool; a tool created through the research period of this study. The practice-led research (PLR) methodology developed for this research engaged a semi-cyclic research design that allowed the reflexive moment of improvisation to be analysed and reflected upon. This in turn created insights into the processes used to internalise the concept and allowed further development of the concept throughout the study.
Chromatic-intervallic patterns were composed by combining melodic intervals and attaching them to varying interval cycles. This process allowed systematic exploration of this chromatic device and analysis of how it affected the levels of consonance and dissonance in the melodies. These patterns were then used as referents for further improvisations, allowing for less predictable application of the CIA and a practical understanding of the tension levels being created. The CIA was applied to numerous settings, including non-harmonic forms, single-note pedal points, individual chords, common harmonic forms and original compositions. The insights gained through this reflexive process yielded new potentialities for melodic construction in both jazz improvisation and composition, with devices such as ‘tension masking’ and ‘tension propulsion’ being developed within the process phases.
The PLR methodology directed the research towards its major creative outcomes: eight original compositions and a live studio recording. In the final chapter of the exegesis, these outcomes are analysed with reference to the research process, allowing for further reflection on practice and, more generally, on creative process within the arts.
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Ferlaino, Christian. "Confluences : folk wisdom in contemporary music." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33213.
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This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.
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Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Hayes, Lauren Sarah. "Audio-haptic relationships as compositional and performance strategies." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9481.
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As a performer of firstly acoustic and latterly electronic and electro-instrumental music, I constantly seek to improve my mode of interaction with the digital realm: that is, to achieve a high level of sensitivity and expression. This thesis illustrates reasons why making use of haptic interfaces—which offer physical feedback and resistance to the performer—may be viewed as an important approach in addressing the shortcomings of some the standard systems used to mediate the performer’s engagement with various sorts of digital musical information. By examining the links between sound and touch, and the performer-instrument relationship, various new compositional and performance strategies start to emerge. I explore these through a portfolio of original musical works, which span the continuum of composition and improvisation, largely based around performance paradigms for piano and live electronics. I implement new haptic technologies, using vibrotactile feedback and resistant interfaces, as well as exploring more metaphorical connections between sound and touch. I demonstrate the impact that the research brings to the creative musical outcomes, along with the implications that these techniques have on the wider field of live electronic musical performance.
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Luebbers, Johannes. "Cheek to cheek: Transforming a compositional practice through collaboration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2445.
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Throughout the history of art music there are few examples of collaborations between composers resulting in multi-authored works. Collaboration in music performance and other artistic endeavours however is well established, as is the benefit of collaboration in other fields of study. This research investigates collaborative precedents throughout the history of art music and builds on these, exploring what happens when composers collaborate. Specifically, through a practice-led methodology, 10 compositional projects are developed through collaboration with different groups and individuals. Specific methods emerge through practice, with insight gained from each project shaping the next, leading to a reiterative, reflexive research process. This culminates in a series of collaborative models for composers resulting in 10 distinct artistic projects, demonstrating the creative potential of collaborative composition. These results suggest that collaboration between composers is under-explored and has the potential to contribute new and novel approaches to composition. Both the resulting creative work and collaborative models may serve as frameworks for composers to increase collaborative work in their own practice.
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Alves, Jose Orlando 1970. "Invariancias e disposições texturais : do planejamento composicional a reflexão sobre o processo criativo." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284732.
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Orientador: Jonatas ManzolliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta Tese, desenvolvida no Doutorado em Música na Área de Concentração em Processos Criativos, é o resultado da pesquisa sobre a utilização, a viabilidade e as conseqüências do processo de planejamento inserido na composição musical. Este planejamento foi formulado a partir de parâmetros estruturais relacionados à organização das Alturas e à disposição de fluxos Texturais. A combinação dos parâmetros adotados ocorreu através da multiplicação matricial, dando origem à denominação de Planejamento Composicional Parametrizado Matricial. O texto inicia-se com um breve apanhado histórico sobre o processo de formalização composicional e apresenta aspectos do planejamento relacionados à elaboração de esboços, caderno de notas entre outros. Discute também o conceito de auto-organização no contexto da criatividade musical que resultou na composição das seguintes obras: Disposições Texturais e o conjunto de 33 Invariâncias, todas para piano solo. A pesquisa desenvolveu um processo de planejamento, estudou as suas implicações estruturais e criativas e, por fim, buscou uma reflexão sobre como a subjetividade do compositor atuou na escolha e na organização das estruturas musicais
Abstract: This Thesis, developed in a Program on Creative Processes for a Doctor's Degree in Music, is the result of a research on utilization, viability and implications of a Planning Process applied to musical composition. This planning process was formulated using structural parameters to organize pitch material and to arrange textural flows. Matrix operations were applied to combine these parameters and this procedure entitled the method as "Planejamento Composicional Parametrizado Matricial" (Matrix Parametric Composition Planning). The Thesis begins with a brief historical summary on formalization of composition processes. Later it introduces features of the composition planning such as sketches, note books, among others. Further it discusses the concept of self-organization in the context of musical creativity, and how it is related to the author¿s composition: Disposições Texturais, and the set of 33 Invariâncias, all of them for piano solo. This research developed a new planning process, it studied structural and creative implications and, finally, it reflected on how the composer's subjectivity acted on choosing and organizing musical structures
Doutorado
Doutor em Música
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Nilsson, Oskar. "Komposition med hjälp av melodier : Metodiska hjälpmedel för att komponera." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3992.
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In this thesis, I have investigated how to work creatively with melodies in the process of composing music. The starting point of the project was to transcribe phrases from different solos and to be assigned with newly composed ones from musicians around me. The melodies were applied to different composing methods. The methods were there to have a way of making music of the melodies and to put them in a context. The purpose of the work was to investigate how the use of these melodies and melody-based methods were affecting my composing. How could I create new musical possibilities in my composing by working like this? How could I in the process use the knowledge to develop harmonic possibilities and concepts on my main instrument? The work resulted in four newly composed pieces and concepts in how to improvise with melodies. I made the conclusions that the combination of variation, patience and a non-valuable working environment was a fruitful way to stay inspirated and creative.Medverkande musiker:
Joanné Nugas - sång
Malte Bergman Byström - bas
Noa Svensson - trummor
Björn Eriksson - piano
Oskar Nilsson - gitarr
Ebba Åsman - trombon
Björn-Atle Anfinsen - trumpet
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FERRETTI, JOSEPH ARMOND. "NOTATED EXTEMPORIZATION: THE STRUCTURAL RAMIFICATIONS OF IMPROVISATORY COMPOSING IN PART VIII OF FREDERIC RZEWSKI'S THE ROAD." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163730489.
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Simurra, Ivan Eiji Yamauchi 1984. "A recriação timbrística na música espectral." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284408.
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Orientador: Silvio Ferraz Melo FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação de mestrado tem por objetivo estudar a ideia de "recriação timbristica" tal qual trabalhada na música espectral. A dissertação está organizada em duas etapas distintas, mas não disjuntas: uma mais teórica e especulativa e outra mais prática. Para isso, levantamos algumas das possíveis referências bibliográficas, tanto técnicas e teóricas, quanto poéticas, musicais e composicionais, utilizadas pelos principais compositores e pesquisadores pertencentes à Música Espectral, como os denominados pioneiros, Tristan Murail, Gérard Grisey e Huguues Dufourt. Segue a apresentação de algumas "recriações timbrísticas" desenvolvidas no repertório composicional, técnico e conceitual da Música Espectral. Dessa forma, os possíveis resultados práticos da utilização conceitual do termo "recriação" se relacionam, especulativamente, com as principais ferramentas e processos desenvolvidos pela música espectral. Ainda, no que o desenvolvimento prático deste trabalho, o Capítulo 3 realiza uma abordagem analítica, assumindo como seus objetos de análise as obras mémoire/érosion (1975-76), de Tristan Murail e Speakings (2008), de Jonathan Harvey e tem, como suporte metodológico, as pesquisas realizadas anteriormente, além da utilização, quando possível, dos recursos técnicos oferecidos por ambientes computacionais, como o OpenMusic. O último capítulo apresenta uma série de produções composicionais como os resultados práticos dos desenvolvimentos teóricos e analíticos realizados durante esse trabalho de pesquisa
Abstract: This research work, organized mainly in two distinct but not disjoint steps: a more theoretical and speculative one and another a little more practical, aims to bring all the possible compositional procedures used by the aesthetical and musical movement known as Spectral Music, which it grounds on the subject about "timbral re-creation", as well as the possible contributions of this approach towards to a Spectral Music's conceptual basis. In this sense, some possible references will be raised, both theoretical/technical and musical/compositional/poetic, used by all the major composers and researchers belonging to Spectral Music, as the ones so-called pioneers, Tristan Murail, Gérard Grisey and Hugues Dufourt as well. At this point, it will be presented some possible examples of "timbral re-creation" developed inside the Spectral Music's compositional, conceptual and technical repertoire. In this sense, it will be speculated some possible practical applicability contributions on the conceptual usages of "re-creation" related to the key tools and music processes developed by Spectral Music. Even so, with respect to the practical development of this research work, an analytical approach will be held, taking as its own analysis' objects Tristan Murail's mémoire/erosion (1975-76) and Jonathan Harvey's Speaking (2008), assuming its results as the truly methodological background. Finally, a series of compositional works will be presented such as a practical return to the theoretical and analytical developments performed during the Master Degree research work
Mestrado
Processos Criativos
Mestre em Música
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Anthony, John James. "Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let's Cool One”." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1348716162.
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Laster, Andrew Jay. "AMPHION.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304705.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
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Laster, Andrew Jay. "ZETHOS.pdf." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304811.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
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Laster, Andrew Jay. "Amphion and Zethos: An Orchestral Work Reimagined as a Concerto for Five Improvisers." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304872.
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Music CompositionD.M.A.
This monograph explores the integration of improvisation and orchestral music. It consists of two closely related large-scale compositions, Amphion and Zethos, and an accompanying essay. Amphion, for orchestra, is in three movements and includes frequent references to styles and genres of the Baroque era, specifically the French dance suite. Zethos, for five improvisers and chamber orchestra, includes the three movements of Amphion, in toto, plus five additional concertato sections with improvisation. These sections have multiple player configurations and were composed for specific players with distinct improvisational skills. These sections also fulfill specific functions in relation to the three fully notated movements of Amphion: as introductions, codas, transitions, and development. The accompanying essay considers issues relevant to Amphion's and Zethos's rehearsal and performance, and examines their form and melodic/harmonic language. It also discusses the historical precedent and aesthetic rationale for improvisation in orchestral music, and the notation of improvisation in Zethos.
Temple University--Theses
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Alexander, Jan. "Turning the Odds in My Favor : Exploring Non-Isochronous Meters Through Composition and Practice." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4064.
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This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements.The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I rehearsed and performed with an ensemble. During the process of composing, arranging, practicing and rehearsing, I gained a lot of articulated knowledge as well as embodied knowledge of the idiosyncrasies of various non-isochronous meters and different ways to perceive and play them.
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Meagher, Andrea. "The symbiosis of improvised and rehearsed elements in the creation of contemporary jazz ensemble music." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/45467/1/Andrea_Meagher_Exegesis.pdf.
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This research investigates the symbiotic relationship between composition and improvisation and the notion of improvisation itself. With a specific interest in developing, extending and experimenting with the relationship of improvisation within predetermined structures, the creative work component of this research involved composing six new works with varying approaches for The Andrea Keller Quartet and guest improvisers, for performance on a National Australian tour. This is documented in the CD recording Galumphing Round the Nation - Collaborations Tour 2009. The exegesis component is intended to run alongside the creative work and discusses the central issues surrounding improvisation in an ensemble context and the subject of composing for improvisers. Specifically, it questions the notion that when music emphasises a higher ratio of spontaneous to pre-determined elements, and is exposed to the many variables of a performance context, particularly through its incorporation of visitant improvisers, the resultant music should potentially be measurably altered with each performance. This practice-led research demonstrates the effect of concepts such as individuality, variability within context, and the interactive qualities of contemporary jazz ensemble music. Through the analysis and comparison of the treatment of the six pieces over thirteen performances with varying personnel, this exegesis proposes that, despite the expected potential for spontaneity in contemporary jazz music, the presence of established patterns, the desire for familiarity and the intuitive tendency towards accepted protocols ensure that the music which emerges is not as mutable as initially anticipated.
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Papageorgiou, Dimitris. "Towards a comprovisation practice : a portfolio of compositions and notations for improvisations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25817.
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This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.
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Duby, Marc. "Soundpainting as a system for the collaborative creation of music in performance." Thesis, Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-08032007-164326/.
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Flick, Birgitta. "Du har lärt mig att lyssna : En undersökning av genomsläpplighet i komposition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3500.
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Partitur av alla delar av LYSSNA och arrangemang av mässans psalmer finns bifogade som bilagorna A1-12.
Ljudinspelningarna från uruppförandet utgör bilagorna B1-10.
Se bilaga C för länkar till videorna och vidare information om uruppförandet och samarbetsprojektet som initierades av ESAIM projektet på KMH.
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Dias, Daniele Gugelmo. "São Jorge : espiritualidade e arte na amizade de Schoenberg e Kandinsky." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284283.
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Orientador: Silvio Ferraz Mello FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Resumo: Este trabalho insere-se na área de « Processos Criativos » do Doutorado em Música do Instituto de Artes da Unicamp. Ele compreende dois volumes. O primeiro dedica-se à descrição e análise dos resultados da pesquisa. O segundo apresenta seu experimento prático na forma de 5 composições musicais. Na descrição de nossas experiências musicais começamos por contextualizá-las em nossa interpretação da história musical do século XX. A seguir, organizamos a reflexão sobre nossa criação em dois grandes arcos, que denominamos de força motora e força diretriz. Como principal força motora, apresentamos a amizade e a espiritualidade de Schoenberg e Kandinsky. Como principais forças diretrizes, destacamos os seguintes elementos musicais: atonalismo, aforisma, acaso/improvisação, colagem/citação. O experimento prático apresenta-se na forma de partituras e gravações. São elas : 1) Música para Schoenberg - piano solo, 2) Quadros de uma Improvisação : Ponto, Linha, Superfície - grupo de percussão e suporte eletrônico, 3) São Jorge - grupo de percussão, 4) Poesia sem palavras - piano solo e 5) Pequenos Mundos - suporte eletrônico
Abstract: Abstract: This thesis belongs to the research field "Creative Process" of the Music Department of the Art Institute of the State University of Campinas-Unicamp. It is organized in two volumes: the first volume is dedicated to the description and analysis of the research results; the second one presents the practical experiment in the form of 5 music compositions. We begin the description of our music experiences contextualizing them in our interpretation of the history of the music of the XX century. Then, we organize the reflections on our creation at two basic bows, named motor strength and guiding strength. As main motor strength we present the friendship and the spirituality of Schoenberg and Kandinsky. As main guiding strength we highlight the following music elements: atonalism, aphorism, chance/improvisation, quotation/citation. The practical experiment is presented in the form of sheet music and recorded music: 1) Music for Schoenberg -solo piano; 2) Pictures of an improvisation: Point, Line, Surface - percussion group and electronic support; 3) São Jorge - percussion group; 4) Poem without words - solo piano; and 5) Small Worlds - electronic support
Doutorado
Doutor em Música
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Salazar, Camilo. "Clestrinye [El Carnaval del Perdón]: Traditional Rituals in Intermedia Composition." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9041/.
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In Part I of this thesis, I examine the use of Latin American rituals, ceremonies, and traditional folklore as conceptual and compositional material; studying and re-contextualizing concepts, cultures, and ideologies, and introducing them to foreign audiences. I explore issues such as laptop improvisation, interaction with other performance forces, and the utilization of the social elements of non-western celebrations, as explored in Clestrinye, a work for live and fixed electronics, mixed ensemble, dancers, and painters.
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Nyberg, Lina. "Det inre rummet : Att använda associerad synestesi som utgångspunkt för komposition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3471.
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Under 2018–20 har jag under min masterutbildning i komposition inkluderat mina egna erfarenheter av synestesi och associerad synestesi i komponerandet och här även försökt att beskriva mina metoder för detta. Jag har försökt överföra upplevelser av text, färg, form och rörelse till musik. Detta är delvis inspirerat av pedagogen Gertrud Grunows arbete på Bauhaus för 100 år sedan men även av mina tidigare arbeten med kollage, grafiska partitur och dans. De ensembler jag skrivit för har varit mycket varierade idiomatiskt och storleksmässigt. För mig som komponist, sångare och improvisatör, men också pedagog är de synestetiska (associativa eller konkreta) metoderna en för mig oändlig källa till inspiration och ett praktiskt sätt att närma sig det kreativa arbetet. Min roll som utövande improvisationsmusiker är också en del av det, då improvisationen aktiverar så många delar av sinnet. Visuell, auditiv, kinestetisk och taktil inlärning påverkar hur vi förnimmer världen. Om du förstår individens unika perception får du större medkänsla och dessutom ett mindre prestationsladdat förhållande till ditt eget skapande. Det bild- eller textmaterial jag skapar hjälper mej att minnas mina grundidéer. Syftet med att vandra mellan olika medium, idiom och förnimmelser är att hitta ett sätt att komma kreativiteten nära – i smyg.During the years 2018–20 I have included my own experiences of synesthesia and associated synesthesia in my composition processes, and in this essay I am describing the methods I have been using. I have tried to transform experiences of words, color, texture, form, and movement to music. This is, to some extent, inspired by the work of the pedagogue Gertrud Grunow at the Bauhaus art school in Germany 100 years ago, but also by my own earlier works with collages, graphic scores and dance. The ensembles I have been writing for have been varied idiomatically and in size. To me, as a composer, singer and improviser, but also as a pedagogue, synesthetic methods (both associative or concrete) are an endless source of inspiration and a practical way to approach the creative work. My role as a performing, improvising musician also takes a part of it since the improvisation activates so many different sections of the sensory system. Our different ways of learning, through the visual, audiative, kinesthetic and tactile, affect how we perceive the world. If you can learn to recognize different modes of individual perception, you will get a greater respect for your fellow humans, and also diminish the performance anxiety you might have in relation to the creativity. The texts and visual material I create in my processes help me to remember the original sources of inspiration. The purpose of wandering in between different media, idioms and sensations is to find practical ways to stealthily approach creativity.
"From Ash to Birch" Lina Nyberg, KMH Symphony Orchestra, conducted by Simon Bång
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Robinson, Kynan. "The making and placing of The Escalators." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/37299/1/Kynan_Robinson_Thesis.pdf.
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The band The Escalators together with the music uniquely composed for it and a subsequent CD and DVDs was the work that emerged from my period of research. The areas of interest that were investigated were sampling, minimalism, stasis, the work of David Lynch, as well as a desire to produce new and innovative music.
The above concepts defined the bands composition and makeup. While each may be regarded as a discreet concept with its own boundaries in my work they seamlessly intermingle resulting in that which is unique to The Escalators sound.
The research methodology used for this work was practice led research.
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MacDonald, Glyn Alan. "Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2204.
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This practice-led research project has produced musical works that bring together ensembles from the Western Classical tradition that only read notation, and, jazz soloists who improvise. Three works ‘Standing Ground’, ‘The Journey’ and ‘Matt versus the Zombies’ were composed for three ensembles each with an improvising soloist. These ensembles included a British style Brass Band, Brass Quintet and a double Saxophone quartet.
The project built on the work of Andy Scott and Eddie Sauter, both of whom wrote for non-jazz ensembles and an improvising artist without including a jazz rhythm section. The accompanying non-jazz ensemble was written in such a way as to provide interactive possibilities to assist the improviser in their creativity. The works in this project included elements found in the jazz rhythm section that I believed could be notated idiomatically. These elements were: call and response; interjection and setting and sustaining the groove. Data was collected through journaling and audio recording of the process from composition, to rehearsal and through to the performance. The compositions were recorded and the works analysed in this exegesis. The exegesis is written in a way to take the reader through the journey I have undertaken to produce these works, hence it is exploratory in nature.
Broadly speaking, injecting the elements from the jazz rhythm section into notated parts for a variety of musicians, both amateur and professional, was a successful and viable approach. The recordings, coupled with the analysis herein, shows that there were moments, where the elements of call and response, and interjection, notated in the accompanying musicians’ parts, created moments of dialogue, and the improvising artist used these to assist them in their improvising creativity. Feedback from all concerned (soloists and groups) was positive and supports the notion that community and professional ensembles, jazz and classical stylistic worlds can coexist, and learn from one another and make music that transcends style and notation constraints. This project adds to the scope of methodologies within creative music research practice. It also stands as an example of one that specifically addresses ways of notating for reading ensembles that will allow them to engage with improvising musicians.
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Sander, Lydia Grace. "Conversations and Collaborations: The Impact of Interdisciplinary Arts in Pre-College Piano Pedagogy." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619184539734014.
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Furlanete, Fábio Parra. "Modelagem de interações musicais com dispositivos informáticos." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284005.
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Orientador: Jônatas ManzolliAcompanhado de 1 DVD
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho investiga o possível papel para o compositor em uma situação de interação musical coletiva e propõe estrategias para sua atuação nesse contexto. Apresenta exemplos dessas estrategias em trabalhos composicionais e implementa um desses trabalhos na forma de uma ferramenta digital que permite ao compositor modelar contextos interativos, elaborar regras de interação e interferir nos processos enquanto eles ocorrem. A implementação das ferramentas digitais é feita na forma de um sistema para modelagem sonora coletiva que usa o projeto de jogos digitais como modelo para interação musical entre agentes artificiais e jogadores humanos em rede. Nosso trabalho tem como foco as regras de interação e como elas podem ser projetadas gerar resultados esteticamente atraentes e que ao mesmo tempo não restrinjam excessivamente a autonomia criativa dos jogadores. Essas regras devem ser aplicáveis tanto no contexto da Arte-Educação quanto no da performance. Acreditamos que o conhecimento da área de design de jogos em rede é útil para o projeto de tais regras.
Abstract: This work investigates the possible role for the composer in a situation of collective musical interaction and proposes strategies for their action in this context. It presents examples of these strategies in compositional works and implements them in the form of computer tools that allows the composer to model interactive contexts, develop rules of interaction and interfere with the processes as they occur. The implementation of the computer tools is in the form of a system for collective sound shaping. It uses digital games design patterns as models for musical interaction between artificial agents and human players in a network. Our work aimed to the interaction rules and how they can be designed to provide interactions whose outcome is aesthetically appealing and, at the same time, to not restrict the creative autonomy of the players. These rules should be applicable both in the context of Art Education and in the performance. We believe that knowledge of the project area network gaming is useful for the design of such rules.
Doutorado
Doutor em Música
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Pär, Kunze. "”Det som skvalper omkring i hjärnan är det som kommer ut.” : En intervjustudie av kompositionsprocessen i folkmusik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36724.
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Syftet med denna studie är att ta reda på hur kompositörer inom genren svensk folkmusik idag går till väga när de komponerar ny musik, hur deras arbetsprocess ser ut och vilka arbetssätt de använder sig av. Det teoretiska perspektivet är hämtat från Stan Bennet och Max Grafs tidigare forskning om hur kompositionsprocessen ser ut för kompositörer inom konstmusikgenren. Ett didaktiskt perspektiv används också som utgångspunkt. Bakgrunden till arbetet baserar jag på tidigare forskning om kompositionsprocessen, forskning om gehörsmusik och kreativitet och idé-skapande. Jag ser även till vikten av att tränas i sitt divergenta tänkande som komponerande innebär. Undersökningen har gjorts genom kvalitativa intervjuer med tre kompositörer inom genren svensk folkmusik. Studien fokuserar på deras respektive processer och ifall det finns gemensamma drag de tre kompositörerna emellan. Resultatet visar att processen kan se väldigt olika ut, och att såväl intuitivt eller omedvetet som aktivt och medvetet komponerande sker. Något som är viktigt för kompositionen är att det finns en naturlighet i processen, att låten inte ska vara framtvingad även om kompositören arbetar aktivt med komponerandet av låten, samt att arbetsprocessen är individuell på så sätt att varje kompositör kan ha flera tillvägagångssätt Slutligen diskuteras även hur komponering kan användas i en undervisningssituation.The purpose of this study is to see how composers in the genre “Swedish traditional music” work as they compose new music, to see their working process and what working methods they use. I will be using the theoretical perspective of Stan Bennett and Max Graf earlier research on the process in composing music in classical music. A didactic perspective is also used. I base my work on earlier researches in the area of composing, the creative process and creation in other areas. I also see to importance of divergent mind processes, which is a part of the process of composing. The study has been done by qualitative interviews of three composers in the genre of Swedish traditional music. The study focuses on their separate processes and common features. The result shows that the process can be diversified, and both intuitive and active thinking processes are being used. It is important that there is naturalness in the process. Although it´s an active process of composing, the song can´t be forced. I will present each composer one at the time and then summarize, this because the working process is so individual and each composer can have various processes. Finally I see to how composing can be used in the art of teaching.
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Rays, Luís Gustavo Carvalho Alonso. "A trajetória musical do compositor brasileiro Djalma de Andrade = Bola Sete." [s.n.], 2018. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283940.
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Orientador: Marcos Siqueira CavalcanteDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho apresenta e analisa os elementos musicais pertencentes aos diferentes estilos e gêneros que caracterizam a obra do compositor e músico brasileiro Djalma de Andrade, mais conhecido nos meios musicais como "Bola Sete", evidenciados neste trabalho pela notável influência do jazz em suas composições e os reflexos de sua vida pessoal, como a sua origem humilde, sua dedicação à arte como meio de sobrevivência, sua espiritualidade, a busca do reconhecimento profissional em outros países e as parcerias com importantes músicos seus contemporâneos, pois estamos cientes da importância e necessidade de contribuir para com a historiografia da música brasileira, bem como da carência de trabalhos direcionados à interpretação das obras para o violão. Os elementos acima mencionados que marcaram o estilo deste músico no cenário musical na segunda metade do século XX, de certa forma ajudaram a construir a cultura popular musical brasileira, consolidada por outros personagens de nosso país. Os achados desta pesquisa tiveram como fonte principal o acervo particular Anne Sete, a viúva do compositor, que despreendidamente contemplounos com informações privadas como cartas, partituras, gravações e recortes de jornais e revistas contendo artigos que retratam a trajetória deste incomparável músico, tendo em vista que sua vida e obra são pouco conhecidas no meio acadêmico. O primeiro capítulo desta pesquisa recupera a trajetória pessoal e profissional do compositor e músico objeto desta investigação apresentando uma apreciação crítica dessas fontes bibliográficas. No segundo capítulo realizamos um estudo detalhado dos elementos musicais que caracterizam as composições de Djalma de Andrade identificando as suas sugestões interpretativas e apresentando os exemplos musicais em seus diferentes estilos e gêneros, observando, principalmente, a influência do jazz em suas composições. No terceiro capítulo, transcrevemos e analisamos algumas das obras, selecionadas a partir da sua importância na discografia nacional e internacional, pois, além de pesquisar e exemplificar os dados colhidos, ilustrando as reflexões sobre os elementos que caracterizam a obra do músico Djalma de Andrade, o Bola Sete, atendemos ao objetivo principal deste trabalho que é apresentar um estudo do repertório escrito para violão por este artista e incentivar novas criações e aperfeiçoamentos musicais que contribuam para a evolução e a inovação musical de nosso tempo
Abstract: This dissertation analyses the musical elements that belong to the different styles and genres that characterize the work of Djalma de Andrade, a Brazilian composer and musician, who is best known as "Bola Sete". This piece aims to exemplify the notable Jazz influences in the musicians work, as well as his personal life, his humble origins, his dedication to art as a means of survival, his spirituality, the search for professional recognition in other countries and the collaboration with other important musicians - for we are aware of the importance of contributing to the history of Brazilian music, as well as the lack of work that aims to interpret the art of the acoustic guitar. The elements above mentioned that marked the style of Djalma de Andrade in the second half of the 20th century, in many ways helped build the popular Brazilian musical culture, consolidated as well, by other characters of this country. The main reference for this research was the personal archive of Anne Sete, Djalma's widow, who unselfishly provided personal information such as letters and newspaper clippings containing the trajectory of this incomparable musician. We would like to point out that his life and work are not well known in academic circles. The first chapter of this research uncovers the musician's personal and professional trajectory with a critical appreciation of the archival material. The second chapter consists of a detailed study of the elements that were key in Djalma de Andrade's compositions - identifying interpretive suggestions and presenting musical examples of his different styles and genres. But mostly, we aim to reveal the jazz influence in his compositions. The third chapter is a transcription and analysis of a selection of his work, chosen due to their importance in the national and international repertoire. We have researched and exemplified the data, pondering about the elements that characterize the work of Djalma de Andrade, "Bola Sete" - but our main focus was to study the artist's acoustic guitar repertoire and hopefully inspire new work that contribute to the musical evolution and innovation of our times
Mestrado
Musica
Mestre em Música
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Bota, João Victor 1981. "A transcrição musical como processo criativo." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285139.
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Orientador: Jose Eduardo Ribeiro de PaivaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta dissertação pretende-se discutir os processos criativos composicionais envolvidos nas atividades de transcrição musical, sobretudo aquelas referentes à produção de repertório para bandas sinfônicas. Acreditando que as transcrições pertencem ao universo da recriação artística, o argumento que permeia esta análise é sustentado por uma reflexão histórica acerca dessas práticas composicionais e da reconstituição do processo de consolidação das bandas sinfônicas como efetivos instrumentais relevantes no cenário ocidental. Por fim, o autor desta dissertação analisa algumas transcrições musicais realizadas por ele, com o intuito de trazer contribuições concretas, embora pontuais, para o exercício da transcrição musical como um processo criativo
Abstract: This dissertation aims at discussing the compositional creative processes involved in the activities of musical transcription, above all on those related to the production of repertoire to symphonic bands. Believing that the transcriptions belong to the universe of artistic re-creation, the argument that runs through this analysis is sustained by a historical reflection about these compositional practices and by the reconstitution of the process of consolidation of the symphonic bands as effective means relevant in the western scenario. At last, some musical transcription analyses are made by the author of this dissertation with the aim of bringing concrete contributions, even if particular, to the exercise of musical transcription understood as a creative process
Mestrado
Mestre em Música
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Martins, André Lopes. "A guitarra elétrica na música experimental: composição, improvisação e novas tecnologias." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-094517/.
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O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador.This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.
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Schuiling, Floris Jan. "Animate structures : the compositions and improvisations of the Instant Composers Pool Orchestra." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/273767.
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Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.
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Dias, Fernandes João Eduardo. "L’improvisation musicale électroacoustique : enjeux et problématiques du développement des technologies numériques." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080026.
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Cette thèse en recherche-création est centrée autour de l’exploration des besoins des musiciens dans le cadre de la pratique de l’improvisation musicale électroacoustique. Cette réflexion a été menée à partir d’un travail d’observation participante au sein de différents ensembles musicaux. Elle vise aussi à présenter les stratégies adoptées dans le développement des outils numériques d’un instrument de notre création. Comment la pratique de l’improvisation libre dans la musique électroacoustique fonctionne-t-elle et quelles sont les connaissances nécessaires pour la réaliser ? Pour aborder cela, cette thèse explore plusieurs pistes : d’abord en considérant la situation de la performance elle-même, et en interrogeant les raisons musicales et extramusicales qui entourent une action improvisée. Ensuite, cette recherche s’articule autour de l’étude des caractéristiques d’un instrument numérique, dont l’aspiration consiste à détenir la même souplesse que les instruments acoustiques. Le volet « création » de cette thèse se décline à travers le développement d’un instrument numérique qui est notamment doté d’un système de recommandation des échantillons sonores. Il est utilisé dans des situations d’improvisation avec plusieurs ensembles, qui constituent le corpus des données de ce travail. Pour finir, cette thèse cherche à caractériser l’improvisation musicale à travers les nombreuses interactions qui se produisent lors d’une performance. La recherche a donc pour objectif d’offrir un cadre, pratique et théorique, pour l’utilisation et pour l’exploration des outils numériques contemporains à destination des musiciens qui pratiquent l’improvisation libre collectiveThis research/creation thesis is centred on the exploration of musicians’ needs for the practice of electroacoustic music improvisation. This investigation was conducted through participant observation with different musical ensembles. It also presents the strategies adopted for the development of digital tools in the case of a created musical instrument. How does the practice of free improvisation in electroacoustic music work and what knowledge is needed to achieve free improvisation? To answer these questions, several paths were taken: for example considering the context of the performance and by challenging the musical and extramusical aspects surrounding the improvised action. Furthermore, this research deployed a study of the characteristics of a digital instrument that endeavours to possess the same flexibility as acoustic instruments. The “creation” component of this thesis is through the development of a digital instrument (RJ). This instrument is implemented with a sound samples recommendation system. It was used in situation of improvisation with several ensembles, which form part of the corpus of data of this thesis. Lastly, this thesis seeks to characterize musical improvisation through the multiple interactions that occur during an improvised performance. The research therefore provides a practical and theoretical framework for the use and exploration of contemporary digital tools for musicians, which practice collective free improvisation