Relevant bibliographies by topics / Music improvisation processes

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

Academic literature on the topic 'Music improvisation processes'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Music improvisation processes"

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Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed,
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Nakayama, Shinnosuke, Vrishin R. Soman, and Maurizio Porfiri. "Musical Collaboration in Rhythmic Improvisation." Entropy 22, no. 2 (2020): 233. http://dx.doi.org/10.3390/e22020233.

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Despite our intimate relationship with music in every-day life, we know little about how people create music. A particularly elusive area of study entails the spontaneous collaborative musical creation in the absence of rehearsals or scripts. Toward this aim, we designed an experiment in which pairs of players collaboratively created music in rhythmic improvisation. Rhythmic patterns and collaborative processes were investigated through symbolic-recurrence quantification and information theory, applied to the time series of the sound created by the players. Working with real data on collaborat
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Hermelin, B., N. O'Connor, S. Lee, and D. Treffert. "Intelligence and musical improvisation." Psychological Medicine 19, no. 2 (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 showe
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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 (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
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West, Julia Maurine. "Canonized repertoire as conduit to creativity." International Journal of Music Education 37, no. 3 (2019): 407–24. http://dx.doi.org/10.1177/0255761419842417.

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Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies
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Fenn, John. "The Building of Boutique Effects Pedals—The “Where” of Improvisation." Leonardo Music Journal 20 (December 2010): 67–72. http://dx.doi.org/10.1162/lmj_a_00014.

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Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as pa
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Kuldkepp, Kristin. "Free Improvisation as Experience: A pragmatic insight into improvisational gesture." Organised Sound 26, no. 1 (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 fre
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Skewes, Katrina. "A Review of Current Practice in Group Music Therapy Improvisations." British Journal of Music Therapy 16, no. 1 (2002): 46–55. http://dx.doi.org/10.1177/135945750201600107.

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The information contained in this article has been derived from a series of interviews conducted by the author with selected specialists in music therapy group improvisation. Although the music therapy literature barely addresses the musical material created in group improvisations, it is not true to say that there is no expertise in this area. Rather, it is likely that the difficulties in communicating these musical processes via the written word or transcribed score have discouraged researchers and clinicians from publishing current theories and understandings. For this reason, selected spec
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Varvarigou, Maria. "Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation." British Journal of Music Education 34, no. 3 (2017): 291–304. http://dx.doi.org/10.1017/s0265051717000109.

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This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be
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Norgaard, Martin. "How Jazz Musicians Improvise." Music Perception 31, no. 3 (2012): 271–87. http://dx.doi.org/10.1525/mp.2014.31.3.271.

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It is well known that jazz improvisations include repeated rhythmic and melodic patterns. What is less understood is how those patterns come to be. One theory posits that entire motor patterns are stored in procedural memory and inserted into an ongoing improvisation. An alternative view is that improvisers use procedures based on the rules of tonal jazz to create an improvised output. This output may contain patterns but these patterns are accidental and not stored in procedural memory for later use. The current study used a novel computer-based technique to analyze a large corpus of 48 impro
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Dissertations / Theses on the topic "Music improvisation processes"

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Caesar, Michael, and n/a. "The processes used by high school music instrumentalists when improvising music and the factors which influence those processes." University of Canberra. Education, 1999. http://erl.canberra.edu.au./public/adt-AUC20050214.143037.

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The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes. Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensem
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Senturk, Sertan. "Computational modeling of improvisation in Turkish folk music using Variable-Length Markov Models." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42761.

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The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the
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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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<p>Partitur av alla delar av LYSSNA och arrangemang av mässans psalmer finns bifogade som bilagorna A1-12.</p><p>Ljudinspelningarna från uruppförandet utgör bilagorna B1-10.</p><p>Se bilaga C för länkar till videorna och vidare information om uruppförandet och samarbetsprojektet som initierades av ESAIM projektet på KMH.</p>
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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 c
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Zanetta, Camila Costa. "Espaços para criar e conviver: processos criativos em jogos cênico-musicais na educação musical com crianças." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-18052015-153056/.

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Esta pesquisa propõe reflexões acerca da importância dos espaços para a criação na educação musical. Focalizando as práticas de improvisação no ambiente do jogo, foram investigadas as contribuições das experiências de improvisação em jogos cênico-musicais para a formação integral das crianças. O pensamento pedagógico-musical de Hans-Joachim Koellreutter e os jogos desenvolvidos pelo educador nortearam este estudo, assim como as ideias desenvolvidas pela educadora Teca Alencar de Brito. Através de uma pesquisa-ação, uma Oficina de Música voltada a crianças entre sete e dez anos foi instaurada.
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Falleiros, Manuel Silveira. "Palavras sem discurso: estratégias criativas na livre improvisação." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-08032013-140658/.

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O intuito deste trabalho foi o de, através da pesquisa sobre o processo criativo na Livre Improvisação, desenvolver estratégias de criação e explorar a palavra como agente potencializador nos processos de criação. Para compreender o fenômeno da criação na Livre Improvisação, buscamos alternativas metodológicas adaptando modelos de análise que permitissem uma aproximação coerente às artes performativas a partir do esclarecimento sobre os conceitos dos Processos de Criação e do Paradigma Indiciário. Da mesma forma, exploramos o significado da criatividade para a Livre Improvisação, demonstrando
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Wärnheim, Marcus. "Sök och du skall finna : Om att utveckla en kollektivt improviserande trio." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4026.

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In many music ensembles there are hierarchies and a focus on the vision of the bandleader. This thesis explores the possibilities of creating conditions for improvisational co-creation and follows the common development-process of an improvising trio. Emphasis is placed on democratic interplay and a collective expression without compromising with each musician’s personal sound. Through structured and free improvisations, the trio discovered and developed their musical language, limitations and possibilities. Self-recording, listening to it and discussions about what was experienced, perceived
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Ekroth, Marcus. "Ta det piano : En observationsstudie i en gitarrists övande av pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-63790.

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Syftet med detta arbete är att undersöka på vilket sätt det är möjligt att designa en övningsprocess för att uppnå spelteknisk utveckling på instrumentet piano och om denna process kan gynna en utveckling inom området improvisation. För att undersöka detta har jag under en tioveckorsperiod övat på två specifika övningar, ca. fem övningspass i veckan á 20-30 minuter per tillfälle. Dokumentation av övandet har skett via videofilmning och loggboksskrivande. Jag har i analysen utgått från ett designteoretiskt perspektiv. I resultatdelen av arbetet beskrivs vilka resurser jag använt för att öva, hu
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Lavergne, Grégoire. "« Toucher les sons » : la manipulation expérimentale des sons électroniques, de l'apprentissage à la transmission dans les pratiques improvisées contemporaines - enquête de terrain à montréal auprès de musiciens improvisateurs (2013-2016)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0080.

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Dans le domaine musical, l'époque contemporaine se caractérise par la dissémination de la scène, la démultiplication des genres musicaux et l’omniprésence des techniques audionumériques dans les processus de fabrication et de diffusion des enregistrements, reproductibles à l'infini par un nombre toujours croissant d'utilisateurs de matériel informatique. Nous choisissons d'extraire d'un tel contexte les pratiques improvisées d'inspiration libre usant d'une lutherie électronique. Comment les artistes parviennent-ils à se repérer dans un environnement aussi fluctuant et problématique, puis à tr
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Paes, José Eduardo Tomé. "Processos mentais subjacentes à improvisação idiomática." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-27012015-162536/.

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O presente trabalho propõe pesquisar a relação entre processos mentais, improvisação musical e performance. Realiza essa investigação partindo da perspectiva da psicologia cognitiva das décadas de 1980 e 1990 que concebe a improvisação musical enquanto um sistema de expertise. Incorpora à pesquisa as novas abordagens fundamentadas em princípios da neurociência realizadas na primeira década do século XXI, que investigam a improvisação enquanto um comportamento criativo espontâneo e, através de experimentos com neuroimagem funcional, buscam as possíveis bases cerebrais para a criatividade. O obj
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Books on the topic "Music improvisation processes"

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A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 2000.

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A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 1988.

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Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford University Press, USA, 2001.

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Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.

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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical impro
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Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition (Oxford Science Publications). Oxford University Press, USA, 1988.

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MacDonald, Raymond, and Graeme Wilson. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.007.

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Group musical improvisation is an important artistic, educational, and therapeutic process, and understanding the unique mental, individual, and social processes involved should be a key task for psychology. This chapter summarizes constraints in how some branches of psychology and ethnomusicology have conceptualized improvisation, and describes recent research embracing the breadth of what constitutes improvisation in music. Analyzing how highly diverse musicians discuss the fullest range of improvisational practices indicates important relationships between this creative interaction and wide
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Iyer, Vijay. Improvisation, Action Understanding, and Music Cognition with and without Bodies. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.014.

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A posited definition of improvisation encompasses such a broad range of human actions that it is helpful to consider both improvisation and rhythm in terms of embodied cognition and a notion of bodily empathy. This suggests a possible (though unstable and inconclusive) connection to action understanding, empathy, and mirror neurons, while acknowledging the latter’s disputed status. With or without mirror neurons, the concept of action understanding offers a reconsideration of improvisation and music cognition with or without bodies (i.e., live or recorded). The relationship of improvisation, r
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Berkowitz, Aaron L. The Cognitive Neuroscience of Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.004.

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Cognitive neuroscience research has begun to elucidate the neural substrates and cognitive processes that are involved in musical improvisation. In turn, the study of improvisation from the perspective of cognitive neuroscience has provided new insights about the brain and cognition. This chapter reviews brain imaging research studies of improvisation and explores the relevance of this work to musicians, musicologists, music educators, and cognitive neuroscientists with respect to the practice and pedagogy of improvisation, comparisons between music and language cognition, mirror neuron system
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Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.

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Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed crea
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MacDonald, Raymond A. R., and Graeme B. Wilson. The Art of Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.001.0001.

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With a focus on music, this book outlines what improvisation is and why it is an important creative and social activity. Drawing on the emerging psychological literature in this area, as well as evidence from authors’ research with musicians, this text outlines innovative ideas on what defines improvisation and the psychological, creative, and social processes involved. It explores the role of specialist skills, the importance of musical identities and the nature of understanding in improvised interaction and between improvisers. It discusses how we develop as improvisers and the role of impro
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Book chapters on the topic "Music improvisation processes"

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MacDonald, Raymond A. R., and Graeme B. Wilson. "Improvisation and health." In The Art of Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.003.0007.

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This chapter focuses specifically upon the use of musical improvisation for health and well-being. It considers the fundamental features of improvisation and links them to possible improvements in health and well-being. A model showing the different types of communication processes involved is also presented. Improvisation has long been associated with the potential to bring about improvement in health. It is a key process used by music therapists and early texts outlining music therapy practice contained numerous examples of improvisational activities. This chapter draws these processes and potential outcomes together and explains four characteristics of musical improvisation identified as underpinning the health benefits: improvisation links conscious with unconscious processes; improvisation makes unique demands on cognition; improvisation facilitates creative interaction; and, improvisation enables the non-verbal expression of thoughts and feelings that may otherwise be difficult to express. When improvisation is viewed as a sophisticated form of social interaction, links to other non-musical contexts and the implications for health and well-being are clear.
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Norgaard, Martin. "The interplay between conscious and subconscious processes during expert musical improvisation." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0011.

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Musical improvisation is a skill that involves the generation of new material in real time within musical and physical constraints. Qualitative accounts from expert jazz musicians describe two processes that appear to occur simultaneously during improvisation. One process involves consciously focusing on higher-level musical elements, interaction with other ensemble members, and responding to surprising musical events; another subconscious process generates actual note choices. Descriptions by developing improvisers indicate that the subconscious process component is advanced through practice. These accounts align with influential cognitive models—notably the dual-process framework—that can help to describe various aspects of improvisation. The accounts are also supported by traditional and new research in motor learning and by brain imaging studies with improvisers. Specifically, fMRI and EEG research using solo improvisation tasks in which the construction of larger architectural structures was not required, shows deactivation in control areas and less connectivity. These results are consistent with experimental research in which improvisers, forced to focus on an unrelated task, appear to rely on the automated process of inserting learned patterns. On the other hand, if improvisers are focused on interaction with others, improvised exchanges cause engagement of control areas as the higher-level conscious process is engaged.
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Gabrielsson, Alf. "Timing in music performance and its relations to music experience." In Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780198508465.003.0002.

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Clarke, Eric F. "Generative principles in music performance." In Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780198508465.003.0001.

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Sundberg, Johan. "Computer synthesis of music performance." In Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780198508465.003.0003.

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Bauer, William I. "Creating Music." In Music Learning Today. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503706.003.0003.

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Grounded in the research and promising practices literature, Chapter 3 discusses concepts and skills, pedagogies, and technology related to musical creativity. Creativity is usually an assumed part of being musical. While there are creative aspects to a variety of musical activities—for instance, developing an interpretation of a musical composition involves creative thinking—the focus in this chapter is on the development of original musical ideas through two primary musical processes, improvisation and composition. The chapter provides an overview of creativity, discusses the process of learning to improvise and compose, describes pedagogical strategies to use with students, and suggests technological tools that can support creative musical experiences. Contemporary approaches to musical creativity such as remixing and mashups are also addressed.
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Jay Dowling, W. "Tonal structure and children’s early learning of music." In Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780198508465.003.0006.

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Davidson, Lyle, and Lawrence Scripp. "Young children’s musical representations: windows on music cognition." In Generative Processes in MusicThe Psychology of Performance, Improvisation, and Composition. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780198508465.003.0009.

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Margulis, Elizabeth Hellmuth. "5. The psychology of music performance." In The Psychology of Music: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190640156.003.0005.

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Performers occupy a special role within contemporary Western musical culture. Since two individuals can produce markedly different responses by playing the same notes, it is clear that notation fails to capture some of the most critical dimensions of musical communication. What are these dimensions? What does it take to acquire the kind of expertise in manipulating them that top-notch performers possess? How do listeners perceive and respond to them? “The psychology of music performance” tries to understand this expressive power. It considers expressivity in performance as well as its mechanics, the way that practice shapes performance, listener responses to performer choices, and the processes of creativity and improvisation.
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Rolle-Kupliņa, Evija, and Mirdza Paipare. "Ritmiskās sinhronitātes ietekme uz stresu un imunitāti bērnu ar invaliditāti vecākiem." In Mūzikas terapija II : pētniecība, pieredze, prakse, atmiņas: zinātnisko rakstu krājums. LiePA, 2021. http://dx.doi.org/10.37384/mt.2021.110.

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Parents of children with special needs suffer from depression and anxiety disorder, as well as chronic insomnia and stress, this is confirmed by the presence of elevated cortisol levels and reduced immunity. In music therapy, rhythmic music and synchronization, especially music with drums, is used as a therapeutic activity capable of influencing mood improvement, stress reduction and relaxation in a therapeutic context, as it can fit into and adapt to many rhythmic complex and coherent ranges in the real world. This is unifying, creating a sense of security and belonging, allows music to be a facilitator of communicative and social interaction processes. The study uses Perceived Stress Scale (PSS), Cohen, et al., 1983), Improvisation Assessment Profile (IAP), Bruscia, 1987, Natural killer (NK) cell blood analysis, stress (cortisol) saliva analysis. The results of the study showed statistically a significant decrease in psychological and physiological stress patterns, improvements in immunity, interpersonal processes as well as intra-musical synchronization between the first and the tenth sessions.
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Conference papers on the topic "Music improvisation processes"

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient cr
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Reports on the topic "Music improvisation processes"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In m
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