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Books on the topic 'Music improvisation processes'
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1
A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Oxford [England]: Clarendon Press, 2000.
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2
A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Oxford [England]: Clarendon Press, 1988.
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3
Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford University Press, USA, 2001.
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4
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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6
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.
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Nooshin, Laudan. (Re-)imagining improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0019.
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What role does the concept of improvisation play in how we imagine ‘sameness’ and ‘difference’ in music? How do the verbal discourses around creative practice serve to mark musical boundaries? This chapter considers such questions in the context of Iranian music. Specifically, the chapter explores how the concept of improvisation has been understood, constructed and imagined in Iran, particularly in recent years as musicians have sought to position Iranian music within a global network of ‘improvised’ music through which the music accrues associations such as the idea of ‘improvisation as freedom’ or as a means of invoking cross-cultural universals. The chapter argues that in the context of Iran, the significance of improvisation as a concept lies less in its ability to describe musical process and more in its enabling musicians to position their music around particular understandings of ‘sameness’ and ‘difference’.
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Acosta, Rodolfo. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0013.
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This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music throughout the last decades of the century, with the appearance of improvisation/experimental music ensembles in which composers, performers, and improvisers found creative outlets. This process is traced, along with the significant proliferation of performance situations, as well as the reactions of artistic, educational, and governmental institutions to the developing field.
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Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.
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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and exemplars) contribute to a holistic and comprehensive creative process that inspires spontaneous and meaningful music making. The article concludes with recommendations for replication and extension of research to provide insight for improvisation assessment.
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Sparti, Davide. On the Edge. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.020.
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While all human agency unfolds with a certain degree of improvisation, there are specific cultural practices in which improvisation plays an even more relevant role. Among these, jazz offers a privileged site for understanding how improvisation operates, offering the opportunity to find within it a frame of reference that might be related to other genres and modes of creation. This contribution, as Wittgenstein would say, has a “grammatical” design to it. It proposes to clarify the significance of the term “improvisation” by reflecting upon theconditionsthat make the practice possible. Rather than calling forth mysterious processes that take place in the unconscious or in the minds of musicians, the focus is on the criteria that must be satisfied before one may accurately ascribe to an act the concept of improvisation. By comparing the practice of improvisation to the notion a musical “work,” five such criteria are established: inseparability, irreversibility, situationality, originality, and responsiveness. The last part of this chapter offers an insight into the improvising dynamic. Unlike a composer in the domain of classical music, who works from a plan looking ahead, improvising musicians cannot by definition look ahead. Yet they can look behind at what has already been played, and respond to it, extending the logic of the previous phrases, shaping a form retrospectively, blending the emergent with the intended. Hence any musical statement emerging during a performance is at the same time a constraint and a springboard for the following statement.
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Burt, Warren. Thoughts on an Algorithmic Practice. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.36.
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In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
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Improvisation Rites: From John Cage's Song Books to The Scratch Orchestra's Nature Study Notes. London: Routine Art Co, 2018.
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17
Ahonen, Heidi. Adult Trauma Work in Music Therapy. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.47.
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Adult trauma work in music therapy is well established globally, and various approaches presented in the literature reveal the positive impact of using music as part of a therapeutic process. The main music psychotherapy techniques in adult trauma work include improvisation and music listening.Group Analytic Music Therapy(GAMT) was developed by the author. GAMT is a combination of group analysis, interpersonal theories, and intersubjectivity. The therapy group is observed and analyzed from three different perspectives, responding to: (1) The individual in the group (the intersubjective window); (2) the members with one another (the interpersonal window); and (3) the group-as-a-whole (the group matrix window). This chapter presents some of the techniques and methods of the GAMT with the caveat that further training beyond entry level to music therapy is needed to use these techniques and methods.
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Domínguez, Virginia R., and Jane C. Desmond, eds. Michael Titlestad on Solli and Condry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0028.
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This essay takes Solli’s and Condry’s essays as examples of possibilities worth emulating. Both essays, Titlestad argues, are refined instances of a refusal to adopt simple dialectical or bilateral understandings or analyses. Both describe the use of aspects of “American” culture (country and rap music respectively, as well as their social-symbolic architecture) in dynamic processes of triangulation that link their origins (in the United States), their destinations (Norway and Japan respectively), and third terms demarcated by the context and political priorities of performers and their publics. Titlestad is interested in a question he sees both essays fundamentally asking, namely, how particular communities put aspects of U.S. culture to work. In both essays, Titlestad argues, the work entails a redefinition, a resetting, indeed a productive consumption of cultural practice, something Titlestad prefers to think of as some form of improvisation but that still captures the need to complicate any sense of bilateralism. Clearly, Titlestad argues, the particular Norwegian and Japanese communities and subcultures described in the essays by Solli and Condry are embroiled in transnational imaginaries in which “America” already circulates as shorthand for a number of contemporary ideological proclivities.