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.
Full textSenturk, 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.
Full textFlick, 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.
Full textPartitur av alla delar av LYSSNA och arrangemang av mässans psalmer finns bifogade som bilagorna A1-12.
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Se bilaga C för länkar till videorna och vidare information om uruppförandet och samarbetsprojektet som initierades av ESAIM projektet på KMH.
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.
Full textZanetta, 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/.
Full textThe 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.
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/.
Full textThe 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.
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.
Full textMarcus Wärnheim - altsaxofon
Karin Ingves - piano
Kristian Remnelius - trummor
All musik av alla medlemmar.
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.
Full textThe 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.
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.
Full textIn 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
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/.
Full textThis 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.
Albino, César Augusto Coelho [UNESP]. "A importância do ensino da improvisação musical no desenvolvimento do intérprete." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95147.
Full textUniversidade Estadual Paulista (UNESP)
Esta pesquisa discute a natureza da improvisação musical e as possibilidades de sua aplicação no ensino de instrumentos e performance musicais. O problema central que motivou a pesquisa se concentra na questão: “É possível elaborar um ensino significativo de improvisação musical nas escolas que trabalham com a performance musical, ou esta seria uma tarefa a se contrapor à natureza do que vem a ser a improvisação?” Essa problemática nos conduziu aos seguintes objetivos: discutir os conceitos de improvisação musical e de aprendizagem significativa; promover cursos e oportunidades de improvisação em escolas que têm a performance como modelo de ensino musical; e oferecer aos estudantes e professores de música alguns paradigmas metodológicos que poderão fazer da improvisação uma das disciplinas dos cursos de prática instrumental ou canto. Para responder a essa indagação, o mestrando parte de sua história de vida, considerando as oportunidades positivas e negativas que proporcionaram seu desenvolvimento musical e seu interesse pela improvisação. No capítulo II são apresentadas as teorias educacionais que deram suporte à proposta pedagógica que se pretendeu aplicar na pesquisa, considerando principalmente a Teoria da aprendizagem significativa de David Paul Ausubel, que explica diversos aspectos da aprendizagem relativa ao ensino geral, da qual aproveitamos os conceitos que dão suporte ao ensino da música e da improvisação. No capítulo III está a revisão bibliográfica utilizada na pesquisa. Pesquisamos livros, teses e dissertações que abordam a improvisação sobre os prismas científico, pedagógico e filosófico. No capítulo IV apresentamos um breve relato do itinerário histórico da improvisação no Ocidente a partir da tradição escrita e sua aplicabilidade no cenário musical atual, adentrando na questão da utilização da improvisação...
This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: “Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?” This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel’s, that explains many aspects of learning for teaching in general. We chose the Ausubel’s concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: ...(Complete abstract click electronic access below)
Fujiyama, Laís Domingues. "12 Improvisos para violão de Theodoro Nogueira: aspectos composicionais e idiomatismo técnico violonístico." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8389.
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The present work deals with the discussion of the compositional aspects and technical idiomaticism of the 12 IMPROVISOS for guitar solo by Theodoro Nogueira. The dissertation is divided into three parts: the first one consists of a brief biography of the composer, which included the biographical’s recollection data (visit to the Zequinha de Abreu Museum, where the composer's Collection is at), interviews with guitarists Gilson Antunes and Geraldo Ribeiro (who recorded this cycle) and with the son of the composer João Antonio Nogueira. The second part consists on the compositional analysis processes of the improvisations, in confrontation with the nationalistic aesthetic influence and with the critics of other guitarists. We use the writings of the authors Schoenberg (2011) and White (1976) as the theoretical foundation for this aspect. In the third chapter, we intended to show the idiomatic aspects in his music writing. As a reference for our discussion about compositional and instrumental idiomaticism we consulted the writings of Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) and Vasconcelos (2002). Some of our results have shown that, besides belonging to Brazilian nationalist aesthetics, Theodore Nogueira presents compositional peculiarities that put him in a position of visibility and academic interest in relation to his work for guitar, in addition to the technical level required for the performance of his parts is hard. The idiomatic suggestions for 12 Improvisos enhance the compositional aspects described in the previous chapter.
O presente trabalho trata da discussão dos aspectos composicionais e idiomatismo técnico violonístico do ciclo dos 12 Improvisos para violão solo de Theodoro Nogueira. A dissertação está dividida em três partes: a primeira consiste numa pequena biografia do compositor que incluiu o recolhimento dos dados biográficos (visita ao Museu Zequinha de Abreu onde está o acervo do compositor), entrevistas com os violonistas Gilson Antunes e Geraldo Ribeiro que gravaram este ciclo e com o filho do compositor João Antonio Nogueira. A segunda parte consiste na análise dos processos composicionais dos 12 Improvisos confrontada com a influência estética nacionalista/guarnieriana e com as críticas de outros violonistas e pesquisadores da obra de Nogueira. A fundamentação teórica do capítulo 2 consistiu nos autores Schoenberg (2011) e White (1976). O terceiro capítulo descreve as evidências dos recursos idiomáticos composicionais presentes na escrita do ciclo dos 12 Improvisos. Os autores que fundamentaram nossa discussão sobre idiomatismo e idiomatismo instrumental foram Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) e Vasconcelos (2002). Alguns dos nossos resultados mostraram que, além de pertencer à estética nacionalista brasileira, Theodoro Nogueira apresenta peculiaridades composicionais que o colocam numa posição de visibilidade e de interesse acadêmico com relação à sua obra para violão, além disso o nível técnico exigido para a performance de suas peças é rigoroso. As sugestões idiomáticas para os 12 Improvisos potencializam os aspectos composicionais descritos no capítulo anterior.
KOSMYNA, DAVID J. "WHAT YA WANT ME TO DO?: A GUIDE TO PLAYING JAZZ TRUMPET/CORNET IN THE NEW ORLEANS STYLE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148060987.
Full textPär, Kunze. "”Det som skvalper omkring i hjärnan är det som kommer ut.” : En intervjustudie av kompositionsprocessen i folkmusik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36724.
Full textThe purpose of this study is to see how composers in the genre “Swedish traditional music” work as they compose new music, to see their working process and what working methods they use. I will be using the theoretical perspective of Stan Bennett and Max Graf earlier research on the process in composing music in classical music. A didactic perspective is also used. I base my work on earlier researches in the area of composing, the creative process and creation in other areas. I also see to importance of divergent mind processes, which is a part of the process of composing. The study has been done by qualitative interviews of three composers in the genre of Swedish traditional music. The study focuses on their separate processes and common features. The result shows that the process can be diversified, and both intuitive and active thinking processes are being used. It is important that there is naturalness in the process. Although it´s an active process of composing, the song can´t be forced. I will present each composer one at the time and then summarize, this because the working process is so individual and each composer can have various processes. Finally I see to how composing can be used in the art of teaching.
MATOS, Everton Luiz Loredo de. "A trajetória histórica da improvisação no choro: um enfoque de configurações estilísticas e processos de hibridação cultural." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2713.
Full textThe choro, he cultivates an instrumental genre improvisational style, has been transformed in the course of its history, both in melody and harmony. The first cries compounds possessed simple harmonies, making the soloists of the time to interpret differently from today. The different treatments harmonics, which have arisen over time, seem to have been one of the leaders of these different interpretations, which have been shown in an intense and characteristic improvisation. Apparently, there was an increase in these transformations of choro with the rapid development of technology and media from the mid-twentieth century. This circumstance, perhaps, brought a more intense and immediate contact of this musical genre with global genres such as jazz, for example, as a new and intense focus on improvisation, which has drawn attention to formal structures and performing hybrid performances. The intensification of cultivation of Jazz in the country and later the emergence of Bossa Nova in the mid-twentieth century, it seems, interfered markedly in the improvisation of gender, providing new composers to invest in new procedures related to this harmonic American genre. Given this circumstance, this study aimed to investigate the technical and cultural implications resulting from the interference of different harmonics in procedures related to the processes of improvisation and musical genre choro in this context not only seek melodic and harmonic innovations, but also processes of identity implicated in processes of cultural hybridization.
O choro, um gênero instrumental que cultiva o estilo improvisatório, sofreu transformações no decorrer da sua história, tanto na melodia, quanto na harmonia. Os primeiros choros compostos possuíam harmonias simples, fazendo que os solistas da época interpretassem de maneira diferente dos atuais. Os diferentes tratamentos harmônicos, que foram surgindo ao longo do tempo, parecem ter sido um dos principais responsáveis por essas interpretações distintas, que têm se evidenciado de forma intensa e característica na improvisação. Ao que tudo indica, houve um incremento nessas transformações do choro com o grande desenvolvimento da tecnologia e da mídia a partir de meados do século XX. Essa circunstância, possivelmente, trouxe um contato mais intenso e imediato desse gênero musical com gêneros globais, como o Jazz, por exemplo, assim como um novo e intenso foco na improvisação, o que tem apontado para estruturas formais e atuações performáticas híbridas. A intensificação do cultivo do Jazz no país e, posteriormente, o surgimento da Bossa Nova em meados do século XX, ao que tudo indica, interferiram de forma marcante na improvisação do gênero, propiciando aos novos compositores investirem em novos procedimentos harmônicos relacionados a esse gênero americano. Tendo em vista esta circunstância, esse trabalho teve como objetivo investigar as implicações técnicas e culturais resultantes da interferência de diferentes procedimentos harmônicos nos processos de improvisação relacionados ao gênero musical choro e, nesse contexto, buscar não apenas inovações melódicas e harmônicas, mas também processos identitários implicados com processos de hibridação cultural.
Albino, César Augusto Coelho. "A importância do ensino da improvisação musical no desenvolvimento do intérprete /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95147.
Full textBanca: Celso Antonio Mojola
Banca: Sidney José Molina Júnior
Resumo: Esta pesquisa discute a natureza da improvisação musical e as possibilidades de sua aplicação no ensino de instrumentos e performance musicais. O problema central que motivou a pesquisa se concentra na questão: "É possível elaborar um ensino significativo de improvisação musical nas escolas que trabalham com a performance musical, ou esta seria uma tarefa a se contrapor à natureza do que vem a ser a improvisação?" Essa problemática nos conduziu aos seguintes objetivos: discutir os conceitos de improvisação musical e de aprendizagem significativa; promover cursos e oportunidades de improvisação em escolas que têm a performance como modelo de ensino musical; e oferecer aos estudantes e professores de música alguns paradigmas metodológicos que poderão fazer da improvisação uma das disciplinas dos cursos de prática instrumental ou canto. Para responder a essa indagação, o mestrando parte de sua história de vida, considerando as oportunidades positivas e negativas que proporcionaram seu desenvolvimento musical e seu interesse pela improvisação. No capítulo II são apresentadas as teorias educacionais que deram suporte à proposta pedagógica que se pretendeu aplicar na pesquisa, considerando principalmente a Teoria da aprendizagem significativa de David Paul Ausubel, que explica diversos aspectos da aprendizagem relativa ao ensino geral, da qual aproveitamos os conceitos que dão suporte ao ensino da música e da improvisação. No capítulo III está a revisão bibliográfica utilizada na pesquisa. Pesquisamos livros, teses e dissertações que abordam a improvisação sobre os prismas científico, pedagógico e filosófico. No capítulo IV apresentamos um breve relato do itinerário histórico da improvisação no Ocidente a partir da tradição escrita e sua aplicabilidade no cenário musical atual, adentrando na questão da utilização da improvisação... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research discusses the nature of musical improvisation and the possibility of applying it to music teaching and musical performances. The central issue that motivated the research is the focus on: "Is it possible to work out a meaningful teaching of musical improvisation at schools that work on musical performance, or would this be a task that goes against the nature of what the improvisation is about?" This issue have led us to the following aims: to discuss musical improvisation and meaningful learning concepts, to promote courses and the chance to improvise in schools that use performance as a model for music teaching, and to offer to music students and teachers some methodological paradigms that will enable to turn improvisation into a discipline in instrumental practice or singing courses. To answer this question, the researcher will take into account his own life experience, considering the positive and negative opportunities that led to his musical development and his interest in improvisation. In chapter II the educational theories that are the background of the pedagogic principles that were applied in the research are presented, particularly David Paul Ausubel's, that explains many aspects of learning for teaching in general. We chose the Ausubel's concepts that could be used to give support to music and improvisation teaching. The third chapter contains the bibliography used in the research. We went through books and papers that looked into improvisation from a scientific, pedagogic and philosophical point of view. In chapter IV there is a brief report about the history of improvisation in the West since it started to be written and how to apply it to the current music scene, and a look into the issue of the use of improvisation in the popular music of the continent. In Chapter V the sources that generated the research are presented divided in three parts: ...(Complete abstract click electronic access below)
Mestre
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)." Thèse, 2017. http://hdl.handle.net/1866/20078.
Full textThibault, Dominic. "Vers une musique numérique vivante : Regard sur le processus créatif de quatre œuvres musicales." Thèse, 2011. http://hdl.handle.net/1866/5294.
Full textCe mémoire présente quatre œuvres musicales composées dans le cadre d'une exploration des musiques numériques. La description de leur contexte de création et leur analyse témoignent d’une démarche méthodologique inspirée par l’improvisation, la collaboration et l’interprétation des musiques. Une introduction précise d’abord mon parcours musical et mes sources d’inspiration en plus de décrire les origines et les objectifs de mon projet. Le premier chapitre présente le contexte de création des quatre œuvres qui composent mon corpus. De velours et d’acier est une pièce acousmatique inspirée de la musique métal qui s’organise autour de matériaux sonores référentiels. Un pied dans ma poubelle est une pièce musicale mixte composée expressément pour l'ensemble de jazz contemporain [iks]. Sa composition a grandement fait évoluer ma conception de l’improvisation. La pièce Enfant Robot au cœur fondant est une recherche sur l’intégration des composantes électroacoustique et instrumentale dans une même musique. Druckabfall est une musique acousmatique qui a vu le jour suite à une collaboration théâtrale. Un deuxième chapitre offre une discussion sur la musique mixte et ses implications dans le processus créatif. Un ultime chapitre aborde de façon critique mon corpus en plus d’en extraire certaines préoccupations. Je propose alors une méthodologie de composition en plus de discuter de l’improvisation et de la collaboration comme moyens de développer mon processus créatif. Cette discussion d’ordre esthétique me permet d'établir des perspectives d’avenir pour ma création musicale.
This Master's thesis presents four musical works composed whilst researching numeric music. The description of their context of creation and their analysis indicate a methodological approach inspired by improvisation, collaboration and interpretation of music. First, an introduction describes my musical background and sources of inspiration in addition to describing the origins and objectives of my project. The first chapter presents the context, within which the four musical works were created. De velours et d’acier is an acousmatic work inspired by metal music. It is organized around a set of referential sounds. Un pied dans ma poubelle is a mixed music work composed specifically for the contemporary jazz band [iks]. My understanding of improvisation has greatly evolved with the composition of this work. The piece called Enfant Robot au cœur fondant was made during my research for integrating electroacoustic and instrumental components within a united music. Druckabfall is an acousmatic work born after a collaboration within the world of theater. The second chapter provides a discussion on mixed music and its implications in the creative process. The final chapter looks critically across my corpus to extract some aesthetic concerns. I then propose a methodology of composition and discuss the improvisation and collaboration as means to develop my creative process. This discussion allows me to enunciate my future musical pratices.
Gironnay, Kevin. "Adopter le risque et l’imprévu : approches de l’improvisation à la composition et la performance électroacoustique." Thèse, 2017. http://hdl.handle.net/1866/20805.
Full textTardrew, Vincent. "Processus compositionnel (mélodie, polyrythmie et polytonalité initialement improvisées) et orchestration : une analyse des cinq pièces composées à la maîtrise." Thesis, 2019. http://hdl.handle.net/1866/24568.
Full textThis thesis proposes an analysis of the composition process via melody, polytonality and polyrhythm through piano improvisation, ending with the orchestration of the five musical pieces composed during the two years of the master's in instrumental and vocal composition at the University of Montreal, from September 2017 to April 2019. These pieces are a Sextet, an Octet, a Movement for two pianos and percussions, 5 Miniatures for orchestra and Tristesse de la lune, a melody on a poem by Charles Baudelaire, totaling 33 minutes of music. We try to situate in a general context the place of these processes through the different references of the author to open fields of possibilities they bring to the future.
Camier, Cédric. "Processus de composition et inspiration scientifique." Thèse, 2015. http://hdl.handle.net/1866/19569.
Full text