Journal articles on the topic 'Music composition and improvisation'
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Revzis, Inessa M. "About the Development of Improvisational Skills in the Pupils of Children’s Music Schools." ICONI, no. 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.
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A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom." General Music Today 33, no. 1 (April 25, 2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.
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Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a listening walk, introducing students to invented notation, scaffolding exploratory learning experiences in the classroom, and provides resources for extending these lessons into composition and improvisation instruction. Embedding exploration into the music classroom empowers students to develop the mental flexibility, disposition, and skills needed for improvising and composing.
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Larson, S. "COMPOSITION VERSUS IMPROVISATION?" Journal of Music Theory 49, no. 2 (January 1, 2005): 241–75. http://dx.doi.org/10.1215/00222909-008.
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
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Addison, Richard. "A New Look at Musical Improvisation in Education." British Journal of Music Education 5, no. 3 (November 1988): 255–67. http://dx.doi.org/10.1017/s0265051700006665.
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After a brief summary of the development of ‘Creative Music’ in schools in the U.K., the author suggests that the emphasis on Improvisation, advocated by Orff and others, has been lost in favour of the Composition/Product model.An attempt to define ‘Improvisation’ leads to various considerations of its value and purpose in various educational settings, and in Music Therapy. Links with ‘play’ in young children, and with practices in Movement/Dance education are drawn.Practical examples are suggested, and a ‘spectrum’of degrees of ‘improvisation’ opportunity are suggested. Participants perceptions of improvisation and composition are described, and finally the case for improvisation as an essential part of any music curriculum is made.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Prévost, Eddie. "Improvisation: Music for an Occasion." British Journal of Music Education 2, no. 2 (July 1985): 177–86. http://dx.doi.org/10.1017/s0265051700004794.
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The case is put for improvisation as the basis for world music, with special reference to flexibility of the blues and the gamelan. An overview of the impact of society on music leads to a general survey of the status of improvisation in pre-industrial Western European culture. Improvisation is contrasted with composition and consideration is given to the problems of providing education in improvisation without destroying its vitality and communicative power.
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Guderian, Lois Veenhoven. "Music Improvisation and Composition in the General Music Curriculum." General Music Today 25, no. 3 (July 27, 2011): 6–14. http://dx.doi.org/10.1177/1048371311415404.
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Parson, Dale. "Quantum Composition and Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 21–25. http://dx.doi.org/10.1609/aiide.v8i4.12552.
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Quantum mechanical systems exist as superpositions of complementary states that collapse to classical, concrete states upon becoming entangled with the measurement apparatus of observer-participants. A musical composition and its performance constitute a quantum system. Historically, conventional musical notation has presented the appearance of a composition as a deterministic, concrete entity, with interpretation approached as an extrinsic act. This historical perspective inhabits a subspace of the available quantum space. A quantum musical system unifies the composition, instruments, situated performance and perception as a superposition of musical events that collapses to concrete musical events via the interactions and perceptions of performers and audience. A composer captures superposed musical events via implicit or explicit conditional event probabilities, and human and/or machine performers create music by collapsing interrelated probabilities to zeros and ones via observer-participancy.
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ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.
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This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of similarities and differences, being argued by presenting the main theories, which are based on a psychological profile of the individual, carefully studied over the decades. The metaphysics of music and the physical and mental processes that the composer or improviser goes through, have often been associated with other fields of research, such as language, theater, poetry, rhetoric and much more. Their study and presentation have as role the artistic development of the complete musician, whether it is a soloist, composer or improviser.
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Hermelin, B., N. O'Connor, S. Lee, and D. Treffert. "Intelligence and musical improvisation." Psychological Medicine 19, no. 2 (May 1989): 447–57. http://dx.doi.org/10.1017/s0033291700012484.
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SynopsisWe investigated whether somebody with a severe mental impairment could not only remember and reproduce music, but was also able to generate it. Musical improvisation requires the ability to recognize constraints and also demands inventiveness.Musical improvisations on a traditional, tonal and also on a whole tone scale composition were produced by a mentally handicapped and by a normal control musician. It was found that not only the control but also the handicapped subject could improvise appropriately within structural constraints, although with the tonal music the idiot-savant showed some stylistic latitude. It is concluded that cognitive processes such as musical input analysis, decision making, and output monitoring are independent of general intellectual status.
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Dasevschii, Veaceslav. "Jazz improvisation as a phenomenon of music art." Akademos, no. 3(62) (January 2022): 132–37. http://dx.doi.org/10.52673/18570461.21.3-62.17.
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This article examines a series of theoretical issues of jazz improvisation. The author analyzes various definitions and emphasizes the main features of jazz improvisation, reveals a number of ways of processing jazz standards. A special aspect represents the character of dialogue proper to this type of musical creation, the typology of improvisation and the relationship between improvisation and composition.
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Hirst, David. "An echo from closed doors." Organised Sound 6, no. 1 (April 2001): 39–45. http://dx.doi.org/10.1017/s1355771801001066.
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On 31 December 1999 the La Trobe University Music Department closed its doors. From the outset, La Trobe Music saw itself as providing an alternative tertiary music education to the predominant paradigms of the time by fostering creativity through composition, technology, improvisation and other types of alternative performance practices. The philosophy of teaching electroacoustic music at La Trobe was to encourage students to find their own compositional voice rather than preach a particular style of electroacoustic music. The Department's research areas were in improvisation and technology, signal processing, gestural control devices, computer-assisted composition, analysis of electroacoustic music, realtime DSP, live electronics and installations. La Trobe's excellence in electroacoustic music was recognised by its inclusion in a survey of the world's top twenty-three computer music institutions by the Japanese journal Intercommunication 6. La Trobe staff and postgraduate students contributed papers and compositions to international and national computer music conferences and La Trobe was very much a part of the international community for over twenty-five years. The challenge now is for other Victorian institutions to meet the needs of today's students and to provide the deep research foundation in electroacoustic music that informs teaching and generates new music directions in the community.
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Faraco, Arthur. "Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material." Opus 27, no. 2 (May 1, 2021): 1–27. http://dx.doi.org/10.20504/opus2021b2712.
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In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer’s improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne’s (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information’s influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.
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Dudas, Richard. "“Comprovisation”: The Various Facets of Composed Improvisation within Interactive Performance Systems." Leonardo Music Journal 20 (December 2010): 29–31. http://dx.doi.org/10.1162/lmj_a_00009.
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This article discusses the balance between composition and improvisation with respect to interactive performance using electronic and computer-based music systems. The author uses his own experience in this domain in the roles of both collaborator and composer as a point of reference to look at general trends in “composed improvisation” within the electronic and computer music community. Specifically, the intention is to uncover the limits and limitations of improvisation and its relationship to both composition and “composed instruments” within the world of interactive electronic musical performance.
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Zavadska, Galina, and Asta Rauduvaite. "FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 817. http://dx.doi.org/10.17770/sie2020vol5.5015.
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A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the process of composition it is possible to stop, to think everything over, to correct something and change it. Improvising and composing at sol-fa lessons are classified as kinds of creative music making. This paper is concerned with the analysis of the types of creative tasks at group classes on sol-fa, as well as with the comparison of different approaches to and methods of the formation and development of creative skills in improvisation and composition in the initial stage. Research aim: to determine and characterize the specific features of using improvisation and composition at sol-fa lessons in the initial stage. Research methods: the analysis of pedagogical experience, the comparison of contemporary methodologies for teaching improvisation and composition.
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Nettl, Bruno. "What Are the Great Discoveries of Your Field? Informal Comments on the Contributions of Ethnomusicology." Musicological Annual 51, no. 2 (June 17, 2015): 163–74. http://dx.doi.org/10.4312/mz.51.2.163-174.
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This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity, and the practical contributions of ethnomusicology to education and social life.
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Dubnov, Shlomo, and Gerard Assayag. "Music Design with Audio Oracle Using Information Rate." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 76–79. http://dx.doi.org/10.1609/aiide.v8i4.12567.
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In the proposed demo we will present a method for design of musical composition using the Audio Oracle (AO) - a machine improvisation method that constructs and produces variation from a music recording using a graph of repeated factors found in the recording. The compositional / improvisation use of AO involves controlling the rate of recombination, the length of common history (length of the repeated factors) and selection of regions in the AO where the machine operates. One of the challenges in working with AO is understanding the generative potential of different audio materials and marking and allocating regions in a recording where AO should operate to achieve the desired musical result. Recently we introduced a novel analysis method "on top" of the AO structure that captures aspects of order and complexity that we call Information Rate. This measure, belonging broadly to a field of study know as Musical Information Dynamics, is related to Bense formulation of aesthetics in terms of entropy and compression. In the demo we will briefly explain the theory behind Audio Oracle and Information Rate and demonstrate a process of designing a composition / structured improvisation based on analysis of the AO graph. In contrast to the usual live interaction method where both the audio input to the oracle and the improvisation are done "on the fly", in this presentation the audio analysis will be done prior to the presentation, while during the talk we will show the process of planning a composition and then do a live performance with the AO based on this design.
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Canonne, Clément. "Listening to Improvisation." Empirical Musicology Review 13, no. 1-2 (January 17, 2019): 2. http://dx.doi.org/10.18061/emr.v13i1-2.6118.
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Is there something peculiar in our appreciation of improvised music? How does knowing that the music we are listening to is improvised affect our experience? As a first step in answering these questions, I have conducted an experiment in which an audio recording of the very same piece of music – a saxophone/clarinet freely improvised duet – was presented to 16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition). Listeners were encouraged both to reflect on their listening experience and to describe in their own words the music they heard. First, evaluative judgments were strongly different in the two listening conditions: listeners approached the piece with specific sets of values in mind, by relying on different features or different kinds of criteria (aesthetic ones in the COMPO condition vs ethical ones in the IMPRO condition) to ground their appreciative judgments. Second, and maybe more importantly, listening experiences were quite different in the two conditions: in the COMPO condition, the piece was more commonly experienced as a sonic product, with listeners paying great attention to the various acoustical effects achieved by the musicians and to the overall structure (or lack thereof); in the IMPRO condition, the music was often described as a kind of communicational or relational process, with descriptions that largely interweaved music-specific terms and more broadly social terms. Overall, this experiment shows that our listening experience can be dramatically affected by modal considerations, i.e., by how we think the music was produced. More specifically, it sheds some light on what constitutes the core of the aesthetic experience of improvisation by exhibiting what is centrally at play (and what is not) when we listen to collectively improvised music.
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Nyström, Erik. "Strange Post-human Attractors: Algorithmic improvisation as acousmatic poiēsis." Organised Sound 26, no. 1 (April 2021): 31–41. http://dx.doi.org/10.1017/s1355771821000030.
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Contemporary thought is moving away from the notion that the human is a clear-cut concept. In particular, non-anthropocentric views are proliferating within the interdisciplinary area of critical post-humanism, with emphasis on non-dualistic views on relations between human and technology. This article shows how such a view can inform electroacoustic and computer music practice, and sees improvisation linked with composition as a fruitful avenue in this. Following a philosophical preparation and a discussion of relevant music discourse, two computer music works created by the author are discussed to demonstrate a model of music-making that merges composition and improvisation, based on the concepts of cognitive assemblages and intra-action, following the writings of N. Katherine Hayles and Karen Barad, respectively. The works employ techniques related to artificial intelligence and cybernetics, such as machine learning algorithms, agent-based organisation and feedback systems. It is argued that acousmatic sound is an important aspect of this practice. The research is thus situated not only in the frames of improvisation practice and music technology but also within spatial acousmatic composition and performance.
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Wreede, Katrina, and Karen Ritscher. "Practicing Efficiently—For Teachers." American String Teacher 44, no. 2 (May 1994): 49–51. http://dx.doi.org/10.1177/000313139404400221.
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Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “Improvisational Chamber Music” style.
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Markova, Оlena M. "phenomenon of musicality in expressiveness of V. Kandinskyi canvases." Linguistics and Culture Review 5, S2 (July 29, 2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.
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The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionism – post-symbolism, in which are presented “washed away” in scene, not clearly given image. The music elements painting Kandinskiy realized as independence of the colour and symbolic elements in compositions. In this work is made analysis of linen “Composition II”, “Improvisation 8” and “Improvisation IV”. It is attention to symbology Roman and Arabic numerals, presented in name, which put into composition of the picturesque linen to associations with conditional image types of the music sound. The special accent is made on analogy of the symmetries of the distribution colorful heel and line to ?rchytonic construction of the music forms.
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Beegle, Amy C. "A Classroom-Based Study of Small-Group Planned Improvisation With Fifth-Grade Children." Journal of Research in Music Education 58, no. 3 (October 2010): 219–39. http://dx.doi.org/10.1177/0022429410379916.
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The purpose of this study was to examine and describe children’s music improvisations and the interactions that transpired within their four-person groups during regular weekly music classes as they planned and performed music improvisations in response to three different prompts: a poem, a painting, and a musical composition. Participants were two classes of fifth-grade children at the elementary school where the researcher was the general music teacher. Sixteen children in four focus groups were chosen for closer observation and a series of interviews. Data were gathered over a 12-week period, utilizing audio- and video-recorded observations, daily field notes, and interviews following students’ viewing of their own performances on video. The findings of this study demonstrate that (a) all children utilized a similar planning process, and social roles and relationships were often correlated to musical roles and relationships; (b) children’s music products differed based on the nature of the prompt, and children viewed prompts along a continuum of providing freedom of expression; and (c) children evidenced three specific strategies and expressed three valued considerations for planning and evaluating improvisation performances.
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Surges, Greg, and Shlomo Dubnov. "Feature Selection and Composition Using PyOracle." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (June 30, 2021): 114–21. http://dx.doi.org/10.1609/aiide.v9i5.12653.
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A system is described which uses the Audio Oracle algorithm for music analysis and machine improvisation. Some improvements on previous Factor Oracle-based systems are presented, including automatic model calibration based on measures from Music Information Dynamics, facilities for compositional structuring and automation, and an audio-based query mode which uses the input signal to influence the output of the generative system.
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Worrall, David. "Complex systems in composition and improvisation." Organised Sound 9, no. 2 (August 2004): 121–22. http://dx.doi.org/10.1017/s1355771804000202.
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Lavranos, Charilaos, Panagiotis Manolitzas, Petros Kostagiolas, and Evangelos Grigoroudis. "Studying musical creativity for managing music library services." Library Management 41, no. 8/9 (May 21, 2020): 745–63. http://dx.doi.org/10.1108/lm-02-2020-0014.
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PurposeThe purpose of this paper is to study and quantify musicians' creativity in order to tune music library services and pinpoint potential musical creative activities.Design/methodology/approach/methodology/approachWebster's conceptual framework for the creative thinking process in music is informing our survey while the analysis adopts a multiple criteria method for quantifying musical creativity. strengths, weaknesses, opportunities, and threats (SWOT) analysis is also adopted developing strategic decisions based on musicians' creativity behaviours.FindingsMental representations of the music heard (listening) is the most important dimension for creative thinking in music while dimensions such as recorded improvisations (improvisation), written analysis (analysis) and composed music scores (composition) follow. SWOT analysis provides further indications for music library services development based on musicians' creativity behaviours.Originality/valueThis study proposes a novel research vein based on multicriteria analysis within the contexts of musical creativity for managing music library services.
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Barrett, Richard. "NOTATION AS LIBERATION." Tempo 68, no. 268 (March 20, 2014): 61–72. http://dx.doi.org/10.1017/s004029821300168x.
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AbstractThis paper, originally the keynote address at a conference on notation in contemporary music held at Goldsmiths, University of London, in October 2013, examines the relationship between notation and improvisation in today's music. Starting from the position that improvisation is a method of composition, and that the two are in no way opposites, the author reflects on his dual practice as composer of often complexly notated scores and an improvising musician. The title subverts the familiar claim that it is improvisation that liberates the musician from the supposed tyranny of fixed notation, suggesting instead that notation may serve a valuable function in suggesting possible directions or points of focus in free improvisation.
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Burnard, Pamela. "Bodily Intention in Children's Improvisation and Composition." Psychology of Music 27, no. 2 (October 1999): 159–74. http://dx.doi.org/10.1177/0305735699272007.
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Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (1985): 593–621. http://dx.doi.org/10.2307/831480.
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Porter, Lewis. "John Coltrane's "A Love Supreme": Jazz Improvisation as Composition." Journal of the American Musicological Society 38, no. 3 (October 1985): 593–621. http://dx.doi.org/10.1525/jams.1985.38.3.03a00060.
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Martin, H. "BALANCING COMPOSITION AND IMPROVISATION IN JAMES P. JOHNSON'S "CAROLINA SHOUT"." Journal of Music Theory 49, no. 2 (January 1, 2005): 277–99. http://dx.doi.org/10.1215/00222909-009.
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Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.
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"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
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Pellegrino, Kristen, Jennifer P. Beavers, and Susan Dill. "Working with College Students to Improve Their Improvisation and Composition Skills: A Self-Study with Music Teacher Educators and a Music Theorist." Journal of Music Teacher Education 28, no. 2 (July 27, 2018): 28–42. http://dx.doi.org/10.1177/1057083718787825.
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The purpose of this self-study of teacher education practices was to examine and improve improvisation and composition teaching practices for three university professors at the same institution. Primary data sets were individual researcher journals and transcripts of seven researcher meetings. Secondary data sets were music major surveys, interviews, observations, and written communications. Findings are discussed in three sections: origins of our insecurities, turning point realizations and conversations, and our changed teaching practices and students’ learning. With the encouragement and support of our coresearchers, each of us experienced greater success in regularly integrating improvisation and composition into our teaching, which yielded notable increases in our students’ confidence and skills when improvising and composing, as well as willingness to incorporate them into their own teaching. We noticed improved student learning in many areas, as well as a more sophisticated transference of knowledge between playing, reading, and writing music.
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Goldman, Jonathan. "‘HOW I BECAME A COMPOSER’: AN INTERVIEW WITH VINKO GLOBOKAR." Tempo 68, no. 267 (January 2014): 22–28. http://dx.doi.org/10.1017/s0040298213001307.
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AbstractThis article is an interview with the Franco-Slovenian composer, conductor and trombonist Vinko Globokar, translated, edited and introduced by the author. It offers an overview of Globokar's musical development and a consideration of his artistic position, which straddles the worlds of composition and improvisation. Globokar's music combines complex organisation with an interest in non-hierarchical and improvisatory elements. He has always refused to pit the avant-garde claims of contemporary music against those of free jazz, his music embracing aspects of both, as well as of traditional Balkan musics. His genre-defying approach remains better known in continental Europe than in the UK or North America, and the present text is a contribution to the limited bibliography on Globokar in English.
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Kuldkepp, Kristin. "Free Improvisation as Experience: A pragmatic insight into improvisational gesture." Organised Sound 26, no. 1 (April 2021): 100–109. http://dx.doi.org/10.1017/s1355771821000091.
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This article presents the possible proximity between the philosophical tradition of pragmatism and the present-day practice of free improvisation, a musical activity that enjoys its ambiguous nature of not being clearly defined, that is, however, of value to examine as a practice in its own rights. It is used in educational and compositional contexts as a tool, as well as being an established independent performance practice, albeit for a relatively small body of audience. The discussion is led through three concepts that are utilised by pragmatists, but which resonate with the concerns of free improvisers: experience, expressive object and gesture. Outlining these key ideas, the article sheds light on John Dewey’s and Giovanni Maddalena’s thoughts on aesthetics, which provide a perspective for examining these inherent issues of free improvisation. Through a philosophical examination, the article seeks to enlighten the performance processes of the musical phenomenon of free improvisation.
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Brook, Taylor. "Musicking with Music-Generation Software in Virtutes Occultae." Leonardo Music Journal 30 (December 2020): 3–7. http://dx.doi.org/10.1162/lmj_a_01086.
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This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the composer. After an overview of how the music-generation software he developed contributed to the creation of Virtutes Occultae, the composer makes comparisons between his process and the use of generative commercial music software to create music, in order to draw distinctions between creating computer-generated music to extend aesthetic sensibilities and creating computer-generated music that iterates based on established commercial styles. Finally, the composer proposes future paths for further investigation involving the development of new musical styles through computer-generated music and reactive computer improvisation.
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Michalakos, Christos. "Designing Musical Games for Electroacoustic Improvisation." Organised Sound 26, no. 1 (April 2021): 78–88. http://dx.doi.org/10.1017/s1355771821000078.
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This paper describes the background and motivations behind the author’s electroacoustic game-pieces Pathfinder (2016) and ICARUS (2019), designed specifically for his performance practice with an augmented drum kit. The use of game structures in music is outlined, while musical expression in the context of commercial musical games using conventional game controllers is discussed. Notions such as agility, agency and authorship in music composition and improvisation are in parallel with game design and play, where players are asked to develop skills through affordances within a digital game-space. It is argued that the recent democratisation of game engines opens a wide range of expressive opportunities for real-time game-based improvisation and performance. Some of the design decisions and performance strategies for the two instrument-controlled games are presented to illustrate the discussion; this is done in terms of game design, physical control through the augmented instrument, live electronics and overall artistic goals of the pieces. Finally, future directions for instrument-controlled electroacoustic game-pieces are suggested.
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Burnard, Pamela. "Examining experiential differences between improvisation and composition in children's music-making." British Journal of Music Education 17, no. 3 (November 2000): 227–45. http://dx.doi.org/10.1017/s0265051700000310.
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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (August 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.
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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.
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Шерегова, В., О. Бакланова, and К. Галимова. ""PROBLEMS AND METHODS OF DEVELOPMENT OF IMPROVISATION IN MODERN DANCE"." EurasianUnionScientists 1, no. 1(82) (February 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.1.82.1191.
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Improvisation in art can be perceived in different ways. There is an opinion that improvisation is a instantly reproducible finished work of creativity, which is characterized, among other things, by imagination and a state of creative search. With regard to the art of dance, improvisation has its own characteristics. We share the opinion that dance improvisation can be viewed as the performer's ability to independently create a dance directly in the process of its performance, guided by his dance temperament, subjective perception of music, character and sequence of actions. Dance improvisation is a special type of choreographic creativity, in which the composition takes place directly in the process of performance. Improvisation is inherent in the nature of dance art; dance itself was originally born from improvisation. There is an opinion that the main characteristic of improvisation in all types of art is freedom, which manifests itself in changing the standard based on the acquired experience. But the paradox is that, breaking away from the established standard, passing through chaos, freedom again leads to the establishment of order.
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McMillan, Ros. "‘To say something that was me’: developing a personal voice through improvisation." British Journal of Music Education 16, no. 3 (November 1999): 263–73. http://dx.doi.org/10.1017/s0265051799000352.
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The study and practice of improvisation in music departments of Australian colleges and universities tends to be dominated by jazz and other African-American styles. However, the School of Music of the Victorian College of the Arts in Melbourne has developed a course of study with a different focus. While rooted in the fundamentals of jazz performance, the philosophy of the course is that students at the end of the twentieth century should endeavour to develop their own musical ‘voice’. An important means of assisting this development is the encouragement for students to compose their own music as the basis for improvisation. In many cases personal concerns and events form the basis for these original pieces and allow performers to develop their own compositional concepts. This is also a significant means of allowing the music to reflect the era and culture of the performers. This article outlines an investigation of ten students conducted over the three years of their degree studies. The investigation aimed to ascertain the conditions under which a personal voice might be acquired and the extent to which composition was employed in the participants' major performances.
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Schubert, Peter. "Contrapunto Fugato: A First Step Toward Composing in the Mind." Music Theory Spectrum 42, no. 2 (2020): 260–79. http://dx.doi.org/10.1093/mts/mtaa009.
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Abstract Jessie Ann Owens marshaled evidence of a stage in Renaissance compositional process that did not use writing; Julie Cumming believes it was composers’ training as choirboys, which included improvisation, that enabled them to do this; and I propose that what they were doing was contrapunto pensado, Lusitano’s “thought-out” counterpoint, a category lying between on-the-spot improvisation and composition. This article details strategies for “composing in the mind” as it might have applied to a particular technique that singer/improvisers learned early on (after note-names, intervals, and rhythmic notation), called contrapunto fugato. It consists of singing a freely invented line containing repetitions of a motive against a cantus firmus (CF) in long equal values. Although this technique is easy to describe, no one has investigated the difficulties that are involved in repeating a motive against a CF. I will show what needs to be thought out beforehand (pensado) and what needs to be held in the mind so that the result can be sung immediately or written down later. The strategies that I “reverse engineer” from Lusitano’s examples give concrete reality to this ephemeral practice and offer a useful tool for our own pedagogy, for thinking about Renaissance music, and for refining our concept of improvisation. Lusitano’s examples are supplemented by examples by Banchieri and Ortiz.
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Nooshin, Laudan. "Improvisation as ‘Other’: Creativity, Knowledge and Power – The Case of Iranian Classical Music." Journal of the Royal Musical Association 128, no. 2 (2003): 242–96. http://dx.doi.org/10.1093/jrma/128.2.242.
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This article traces the discourses which have dominated the musicological study of creativity over the last 50 years or so, focusing on the concept of improvisation and its relationship to composition, particularly as applied to musics outside the notated Western tradition. Arguing that such discourses have served specific ideological purposes, the author illustrates the ways in which these continue to be implicated in an essentializing and orientalist exercise of power over ‘other’ musical traditions. Considering the specific case of Iranian classical music, the author discusses the impact of Western discourses on concepts of musical creativity in Iran and, through detailed musical analyses, illustrates the problematic nature of such discourses in the context of this musical tradition.
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Musgrove, Kristine Anita. "Practical approaches to including popular music in the secondary ensemble." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 487–96. http://dx.doi.org/10.1386/jpme_00008_1.
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This article offers guidelines to secondary music ensemble directors who are interested in incorporating informal approaches common to popular music making within their ensemble. The approaches provided utilize listening, improvisation, arranging, composition and collaboration in order to incorporate popular music learning. The examples discussed are specific strategies and methods which can be used by secondary music ensemble directors as entry points into popular music making activities. Strategies and methods presented place focus on approaching popular music making from the students’ musical interest and experiences promoting student-led learning.
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Myroshnychenko, Valerii. "TEACHING JAZZ IMPROVISATION TO A FUTURE VOCAL ARTIST: ITS ESSENCE AND SPECIFICS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 189–93. http://dx.doi.org/10.36550/2415-7988-2021-1-192-189-193.
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The issues of teaching jazz improvisation to future vocal artists, especially theoretical and methodological aspects of their professional development in institutions of higher art education, have not been sufficiently studied. The matters of the essence and specifics of pop and jazz art, expressive means of improvisational mastery in vocal performance, the special nature of the relation between a composer and a performer, and the relationship with the audience become especially relevant. Vocal performance is one of the most important parts of jazz music. Both the first blues performers and many performers of the following decades – the period of New Orleans jazz, the era of swing, bebop and modern jazz – spark our interest. In addition to pronouncing the basic musical text, talented improvising vocalists have been using and continue to use scat singing till this day. The peculiarity of teaching jazz improvisation is also that it is a specific way of spiritual communication by musical means that can «say» more than words. It is a special concert genre that simulates a situation of direct spiritual communication, which occurs when two or more people related by a previously friendly relationship meet or during a meeting of people who have a sense of empathy between them. The specific features of a future vocal artist include combinatorial memory, imagination, fantasy, technical capabilities, and musical thinking, since the musician implements their spiritual and emotional potential in improvisation, operating with blocks of musical and artistic information during the jazz composition performance, combining them in different patterns, and thus finds the most complete, voluminous artistic embodiment of the improvisational idea. Vocal and jazz art is special in its manner, harmony, performance techniques, sound production, and orthoepy. Each style has its own professional performers whose artistic work presents the standard of the way the music sounds. Expressive means of improvisational technique in jazz are various, which is due to the specific features of variable jazz styles, individual performance style of vocal artists and the specifics of musical forms and genres typical of such technique.
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Sovtić, Nemanja. "Chamber music of Szilárd Mezei and diferentiated congruence in its composing layers (I)." New Sound, no. 58-2 (2021): 137–59. http://dx.doi.org/10.5937/newso2158008s.
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The composer and violist Szilárd Mezei has made a significant, decades-long contribution to contemporary music in the national and international contexts. Although his artistic approach can be linked to the musical universe of György Szabados, an author who became one of the most influential creative figures in the Central European cultural space during the 1970s and 1980s, Mezei is a special phenomenon on the local music scene. With his ensemble mostly comprising prominent Novi Sad musicians, Mezei has a large number of discographic achievements to his credit in the space between composition and improvisation. Mezei divided his compositional opus into genre corpora of chamber and orchestral music, of which the review of chamber music is the subject of research in this paper.
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Lopes, Filipe. "Do Desenho e do Som: Harmonising screen scores and listening." Organised Sound 19, no. 3 (November 13, 2014): 228–38. http://dx.doi.org/10.1017/s1355771814000211.
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Do Desenho e do Som is a software application that creates graphical screen scores in real time. Fascinated by the theoretical discussions concerning improvisation, composition and real-time composition, the author endeavours to conceive an interactive environment to induce controlled improvisation contexts, using real-time scores. Do Desenho e do Som makes use of real-time screen scores to facilitate the communication of formalised musical ideas, which due to their ambiguous graphical nature create an interesting interaction between a composer, an assistant and performers. It also grants a real-time control over form as the notation, and consequently the music, unfolds at runtime. With a focus on the underlying importance of listening, the author based this article on his own experience designing the Do Desenho e do Som software and using it for composition.
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Oliva, Costantino, and Ari Poutiainen. "Otogarden." Journal of Sound and Music in Games 3, no. 2-3 (2022): 28–58. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.28.
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In this article we present ludomusicological research associated with the development of the video game Otogarden. Players of Otogarden are able to repeat short musical phrases through the use of a loop mechanic, juxtaposing sounds extemporaneously. By using the methodology of research through design, Otogarden addresses aesthetic and design issues related to musical participation in video games. Specifically, this article argues that video games, a contemporary venue for technologically augmented musicking, can allow access to novel forms of musical improvisation. In fact, while video games afford a remarkable variety of musicking, examples related to musical improvisation remain underexplored, with popular games favoring score-based interactions, as established by titles such as Guitar Hero or Rock Band. In similar examples, music is presented as a task to be completed, mediated by prerecorded compositions and simplified notations. Notable exceptions, such as the experimental game Electroplankton, have been criticized specifically for their lack of composition-oriented functionalities, seemingly neglecting the inherent value of improvisatory musical practices in video games. Otogarden challenges this understanding of a “music game” by focusing on the largely untapped potential of musical improvisation, “an activity of enormous complexity and sophistication, or the simplest and most direct expression.”1 In order to gain feedback on Otogarden’s special characteristics, we held a playtesting session with a sample of university students (N=21) with a special interest in music and music education. We collected research data from this session in the form of a survey. Analysis reveals different manifested perspectives, offering players novel creative opportunities. In addition, the game has surprising potential as a music-education tool. We conclude that it is possible to deliberately stimulate players’ perspective on the game in an improvisatory musical direction, making evident the extemporaneous musical possibilities connected with digital game engagement.
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David A. Stringham, Linda C. Thornton, and Daniel J. Shevock. "Composition and Improvisation in Instrumental Methods Courses: Instrumental Music Teacher Educators' Perspectives." Bulletin of the Council for Research in Music Education, no. 205 (2015): 7. http://dx.doi.org/10.5406/bulcouresmusedu.205.0007.
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Hickey and Schmidt. "The Effect of Professional Development on Music Teachers' Improvisation and Composition Activities." Bulletin of the Council for Research in Music Education, no. 222 (2019): 27. http://dx.doi.org/10.5406/bulcouresmusedu.222.0027.
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