Academic literature on the topic 'Music improvisation processes'
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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, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.
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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 collaborative rhythmic improvisation, we identified features of improvised music and elucidated underlying processes of collaboration. Players preferred certain patterns over others, and their musical experience drove musical collaboration when rhythmic improvisation started. These results unfold prevailing rhythmic features in collaborative music creation while informing the complex dynamics of the underlying processes.
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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 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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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 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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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 of two Dalcroze music teacher-participants who treat canonized repertoire as an impetus to creative thought. Field sites included a kindergarten and an adult music class. Several themes emerged from the data analysis, providing a basis for understanding how previous experiences influence classroom practices and pedagogical strategies for opening creative processes in interaction with canonical repertoire. Findings show that the teacher-participants consider improvisation as inextricably linked to other musical processes and conceive of teaching itself as improvisation, treating features of repertoire as material for creative development. By revealing pedagogical practices that offer exceptions to an established model, this study illuminates patterns of interaction that challenge a widespread view of music education based on Western European art music as enacting static preservation.
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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 part of the continuum of social-aesthetic practices composing music making.
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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 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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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 specialists were approached to take part in in-depth interviews aimed to solicit their current understandings of music therapy group improvisations. The results in this article are made up solely of the information shared in these interviews in response to a series of open-ended questions posed by the author.
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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 used to scaffold the development of western classical musicians’ improvisation skills.
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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 improvised solos by the jazz great Charlie Parker. To be able to compare melodic patterns independent of absolute pitch, all pitches were converted to directional intervals listed in half steps. Results showed that 82.6% of the notes played begin a 4-interval pattern and 57.6% begin interval and rhythm patterns. The mean number of times the 4-interval pattern on each note position is repeated in the solos analyzed was 26.3 and patterns up to 49-intervals in length were identified. The sheer ubiquity of patterns and the pairing of pitch and rhythm patterns support the theory that pre-formed structures are inserted during improvisation. The patterns may be encoded both during deliberate practice and through an incidental learning processes. These results align well with related processes in both language acquisition and motor learning.
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 ensembles of factors were:
I . The student profile which included general information and detailed aspects of prior music experience.
2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities.
3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation.
Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence.
The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes,
enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive
strategies used by the students when undertaking the various music improvisation tasks.
The ability of the case study design to handle both qualitative and quantitative data
proved to be useful in this study. Two major findings emerged from the analysis of
the data:
1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable.
2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of
the music improvisation processes used by these individual students, did not follow or produce any specific patterns.
It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.
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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 system is quantitatively evaluated by an entropy based scheme. In the experiments, the results from the pitch-related viewpoints mapping 12-tone-scale of Western classical theory and 17 tone-scale of Turkish folk music are compared. It is shown that VLMMs are highly predictive in the note progressions of the transcriptions of uzun havas. This suggests that VLMMs may be applied to makam-based and non-metered musical forms, in addition to Western musical styles. To the best of knowledge, the work presents the first symbolic, machine-readable database and the first application of computational modeling in Turkish folk music.
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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 construct a multiple viewpoints system that enables it to draw complex relationships between the different input n-grams, and use this information to provide a stronger prediction scheme. It is implemented as a MAX/MSP external in C++ and is intended to be a predictive framework that can be used to create generative music systems and educational and compositional tools for music. A formal quantitative evaluation scheme based on entropy of the predictions is used to evaluate the model in sequence prediction tasks on a database of tabla compositions. The results show good model performance for both the VLMM and the VLHMM while highlighting the expensive computational cost of higher-order VLHMMs.
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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. Esta Oficina perdurou dois meses e foi realizada na Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo (EAFEUSP), atendendo os alunos desta instituição. Visando a perspectiva das crianças a respeito das contribuições dos jogos de improvisação, a coleta de dados articulou diferentes procedimentos: (1) registros audiovisuais; (2) entrevistas semiestruturadas com as crianças; (3) protocolos confeccionados pelos alunos. Considerando a abordagem qualitativa da pesquisa, que possibilita mudanças no decorrer do processo, acrescentou-se às técnicas de coleta de dados uma entrevista semiestruturada com a professora de música da EAFEUSP (professora que acompanhou a prática da pesquisa-ação). Na análise dos dados, apontamentos gerais e específicos foram apresentados, relacionando as opiniões das crianças e da professora de música com as ideias de autores abarcados na pesquisa. Os resultados indicam que as práticas de improvisação, no contexto do jogo cênico-musical, propiciam o desenvolvimento de capacidades musicais e humanas, permitindo pensar acerca da educação musical como meio para a formação integral da criança<br>The purpose of this research is to reflect about the value of spaces for creation in Music Education. Focusing the improvisation practices inside the game environment, the scenic-musical games improvisation experiences contributions to an integral formation of children were investigated. Hans-Joachim Koellreutter\'s pedagogic-musical thoughts and his games guided this study, as well as the ideas developed by Teca Alencar de Brito. Proposed as an action-research, was offered a Music Workshop to children from seven to ten years old from Application School at USP, occurring weekly between April and June of 2014. Aiming the children own perspective about the improvisation games contributions, the data collection techniques used were: (1) video record; (2) semi-structured interviews with the children; (3) protocols - made by the children. Considering the research qualitative approach, that permits changes in the course of the research process, a semi-structured interview with the school teacher (that accompanied the practice) was added to the data collection. General and specific appointments were presented in the data analysis, relating the opinions of the students and the music teacher with the authors ideas embraced in the research. The results indicate that the improvisation practices, in the scenic-musical game context, provide the development of both musical and human capacities, allowing to think Music Education as a way to children integral formation.
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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 a importância de componentes de processo criativo como o imaginário, a criatividade, o risco e a invenção. Dessa forma, apresentamos como se deu o desenvolvimento de uma estratégia criativa a partir da palavra, vinculada às ações que envolvem os conceitos de ressonância emocional e endoconceitos como componentes do processo de criação relativo à Livre Improvisação. Para isso, contamos com um laboratório de experiências práticas, segundo os conceitos de processo criativo, o qual foi denominado ateliê. Apontamos a partir dos conceitos explorados e das experiências práticas, nosso caminho na formulação destas estratégias que apontam para diferentes perspectivas criativas para a Livre Improvisação.<br>The purpose of this study was to develop strategies to create and explore the word as a potentiating agent in the processes of creation, through research on the creative process in Free Improvisation. To understand the phenomenon of creativity in Free Improvisation, we seek methodological alternatives, adapting models of analysis that would allow a consistent approach to the performing arts from the clarification of the concepts of Creativity Process and Evidentiary Paradigm. Likewise, we explore the meaning of creativity to the Free Improvisation, demonstrating the importance of the creative process as components of the imagination, creativity, risk and invention. Thus, we present how they were developing a creative strategy from the word, linked to actions that involve the concepts of emotional resonance and endo-concepts as components of the creative process on the Free Improvisation. For this, we have a lab practical experience, according to the concepts of the creative process, which was named ateliê (studio). We aim to explore the concepts and practical experience, our way in formulating these strategies targeted at different creative perspectives to the Free Improvisation.
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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 and what potential variations there might be alongside with a non-judgmental attitude served as a powerful tool to raise awareness and to develop the trio. The work resulted in a live streamed concert consisting of a freely improvised piece of music. By focusing on process-oriented solutions that involves and activates the whole ensemble, the trio has been able to develop an interplay and expression that is nonhierarchical, spontaneous and has potential to change.<br><p>Marcus Wärnheim - altsaxofon</p><p>Karin Ingves - piano</p><p>Kristian Remnelius - trummor</p><p>All musik av alla medlemmar.</p>
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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, hur övningen designats samt hur mitt pianospel, med inriktning på improvisation, påverkats av detta övande. Det har i resultatet framgått att många olika typer av resurser använts och att mycket av det jag valt att fokusera på har gett positiva resultat. I diskussionsdelen diskuteras resultatet utifrån det designteoretiska perspektivet samt den litteratur och tidigare forskning som jag presenterat.<br>The purpose of this study is to observe and examine my own learning process when practicing technique on the piano. The purpose is also to observe how this affects my piano playing. In order to examine this I have, during a ten week period, practiced two specific exercises, five times a week 20-30 minutes per session. I documented the sessions via video and a logbook. I have chosen a design theoretical perspective as my theoretical basis. In the result section, I describe which resources I have used in my practice, how I choose to design my practice as well as how it has affected my piano playing. It turns out that I have used many different resources and that many of them has produced positive results. Lastly, I discuss the results in relation to relevant literature and research.
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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 transmettre leur savoir musical ? Pour sortir de la compilation des données temporellement circonscrites, nous tâcherons de comprendre ce qui est en train de se passer au sein des pratiques improvisées contemporaines dans une localité précise. Le cadre théorique, hérité du jazz, montrera qu'il existe au XXème siècle un lien entre l'enregistrement sonore et l'improvisation à travers trois types d'instrumentation : mécanique, analogique et numérique. À l'aide de deux exemples historiques, nous essayerons de comprendre comment un improvisateur apprend à jouer du clavier tout en étant confronté, dans le même temps, à un dispositif technique de production et de reproduction sonore. La méthode introduira ensuite l'enquête de terrain effectuée à Montréal en 2013-2014 dans l'atelier de six musiciens amateurs. Les monographies mettront en évidence les filiations et la mémoire sonore de chaque artiste, constitutives d'un imaginaire musical l'autorisant à performer le moment venu. Les pratiques improvisées étudiées ne représentent aucun genre ni aucune tradition musicale identifiable, car elles s'inspirent indifféremment des musiques expérimentales, de l'électroacoustique, de l'improvisation libre, du free jazz et du rock. En revanche, elles demeurent indissociables du contexte qui les a vu naître, celui de la musique actuelle au Québec et de la topographie montréalaise. Grâce au concept d'« audiotactilité », ces pratiques seront analysées du point de vue des usages que les artistes font des circuits électroniques, c'est-à-dire le rapport physique à la matérialité des outils et des sons produits par le biais de l'ouïe et de la fonction haptique. L'improvisation procède-t-elle d'une construction réfléchie, telle une architecture ou une ingénierie, et l'électronique influence-t-il l'élaboration du discours improvisé ? Existe-il une structure sous-jacente dans l'élaboration d'un discours improvisé utilisant des outils électroniques en adéquation avec un processus musical vivant ? Par le réemploi de morceaux préexistants et par la pratique du sampling, l'improvisation peut être pensée comme un processus hypertextuel. Ainsi, nous verrons si les techniques numériques se placent dans la continuité de l'enregistrement mécanique et analogique ou si elles constituent un élément de rupture<br>In the field of music, our contemporary age is characterised by a scattered scene, an increasing number of musical genres and ubiquitous audio-digital techniques used in the process of production as well as in the broadcasting of recordings, themselves infinitely reproducible by an ever-growing number of computer-users. In the midst of this constellation we have chosen to highlight the art of free improvisation using electronic stringed-instruments. How do artists manage to find their way in such a fluctuating and problematical environment, and then convey their musical know-how? Rather than compiling data limited in time, we will attempt to understand what is being happening among contemporary improvisation in a specific context.The theoretical framework, inherited from jazz, points to a connection in the 20th century between recording and improvisation and operates on three levels: mechanical, analogue and digital. With the aid of two historical examples we try to understand how an improviser learns to play the keyboard while being at the same time confronted with a technical device of sound production and reproduction. The methodology / approach then presents a field investigation carried out in Montreal in 2013-2014 during a workshop involving six musicians. The monographs highlight the origins and sound memory of each artist which make up his musical individuality and allow him to perform when required. The improvised sessions under investigation do not represent a genre or identifiable musical tradition, as they derive indiscriminately from experimental music, electro-acoustics, free improvisation, free jazz and rock. However they cannot be dissociated from the context in which they emerged, i.e. the modern music scene in Quebec and the wider Montreal environment.Thanks to the concept of "audio-tactility", these practices are analysed focussing on how the artists use electronic circuits, i.e. what is the connexion between the material aspect of the devices and the sounds produced by listening and haptics. Does the improvisation stem from a mental construct, a building plan or engineered map and do the electronics have a bearing on the elaboration of the improvised discourse? Is there an underlying structure in the elaboration of an improvised discourse using electronic devices in combination with a live musical process? By feeding preexisting pieces through a sampler, improvisation can be thought of as a hypertext process. In this way we can observe whether digital techniques are an extension of mechanical and analogue recording techniques or whether indeed they break with them
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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 objetivo deste estudo é apropriar-se de parte do conhecimento produzido pela psicologia cognitiva e pela neurociência acerca dos mecanismos psicológicos e neurobiológicos que geram a improvisação, a fim de sugerir possíveis interfaces entre esse conhecimento, as rotinas de estudo do músico improvisador e as estratégias pedagógicas do professor de improvisação.<br>This paper intends to research the relationship between mental processes, musical improvisation and performance. The investigation starts from the cognitive psychology perspective in the 1980s and 1990s, considered a system of expertise, and go forward on new approaches, based on principles of neuroscience from the first decade of this century, that understood the cognitive psychology as a creative and spontaneous behavior. Through experiments with functional neuroimaging, the study reffered here in seeks the possible cerebral basis for creativity. The aim of this study is to appropriate part of the knowledge, produced by cognitive psychology and neuroscience, about the psychological and neurobiological mechanisms that generate improvisation. The research suggests, eventually, possible interfaces between cognitive psychology and neuroscience, the routines of study for an improvising musician and the pedagogical strategies of a teacher of improvisation.
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 improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.
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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 wider psychological and social constructs. The chapter also presents research investigating the relationship between improvisation and health, highlighting a number of key benefits connected with improvisation in music therapy for patients with cancer. Enhancing understanding of the process and outcomes of musical improvisation in this way can help realize the potential contribution of music participation to contemporary culture, creativity in everyday life, and therapeutic interventions.
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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, rhythm, and embodiment to contemporary theories of expectation, speech, and the evolution of music are considered. Action understanding is posited as the foundation of both music cognition and the perception of improvisation, marking both processes as inherently intersubjective, even whether the other’s body is absent or fantasized (as is the case with recorded music).
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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 systems, and neural plasticity.
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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 creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes. Organized into three parts, thirteen chapters and twelve shorter Interventions present diverse perspectives on distributed and collaborative creativity in music, on a range of collaborations between composers and performers, and on the place of improvisation within contemporary music, broadly defined. The thirteen chapters provide more substantial discussions of a variety of conceptual frameworks and particular projects, while the twelve Interventions provide more informal contributions from a variety of practitioners (composers, performers, improvisers), giving direct insights into the pleasures and problems of working creatively in music in collaborative and improvised ways.
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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 improvisation within therapeutic applications of music. Each chapter proceeds from discussion of an illustrative instance of musical improvisation. Providing fresh and provocative insights for anyone interested in playing, studying, teaching, or listening to improvised music, the authors offer suggestions for approaching this practice in new ways at any level, and identify potential developments in cross-disciplinary improvising. Asserting that everyone can and should improvise, the book provides a resource for courses teaching improvisation in contemporary practice, and has strong relevance for those applying musical improvisation in community and therapeutic contexts. The book deals with such questions as: What constitutes improvisation? Do all forms of improvisation represent the same thing? Faced with myriad possibilities, how do improvisers decide what to play? How does an improviser in a group know what the others will do? How might improvisation influence our well-being? In response to such questions, a definition of improvisation based on its unique behavioural features is set out as an exciting context for psychological investigation.
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.
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 creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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 my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.