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Journal articles on the topic 'Music improvisation processes'
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1
Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (June 9, 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 (February 19, 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.
3
Hermelin, B., N. O'Connor, S. Lee, and D. Treffert. "Intelligence and musical improvisation." Psychological Medicine 19, no. 2 (May 1989): 447–57. http://dx.doi.org/10.1017/s0033291700012484.
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SynopsisWe investigated whether somebody with a severe mental impairment could not only remember and reproduce music, but was also able to generate it. Musical improvisation requires the ability to recognize constraints and also demands inventiveness.Musical improvisations on a traditional, tonal and also on a whole tone scale composition were produced by a mentally handicapped and by a normal control musician. It was found that not only the control but also the handicapped subject could improvise appropriately within structural constraints, although with the tonal music the idiot-savant showed some stylistic latitude. It is concluded that cognitive processes such as musical input analysis, decision making, and output monitoring are independent of general intellectual status.
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ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.
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This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of similarities and differences, being argued by presenting the main theories, which are based on a psychological profile of the individual, carefully studied over the decades. The metaphysics of music and the physical and mental processes that the composer or improviser goes through, have often been associated with other fields of research, such as language, theater, poetry, rhetoric and much more. Their study and presentation have as role the artistic development of the complete musician, whether it is a soloist, composer or improviser.
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West, Julia Maurine. "Canonized repertoire as conduit to creativity." International Journal of Music Education 37, no. 3 (April 17, 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 (April 2021): 100–109. http://dx.doi.org/10.1017/s1355771821000091.
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This article presents the possible proximity between the philosophical tradition of pragmatism and the present-day practice of free improvisation, a musical activity that enjoys its ambiguous nature of not being clearly defined, that is, however, of value to examine as a practice in its own rights. It is used in educational and compositional contexts as a tool, as well as being an established independent performance practice, albeit for a relatively small body of audience. The discussion is led through three concepts that are utilised by pragmatists, but which resonate with the concerns of free improvisers: experience, expressive object and gesture. Outlining these key ideas, the article sheds light on John Dewey’s and Giovanni Maddalena’s thoughts on aesthetics, which provide a perspective for examining these inherent issues of free improvisation. Through a philosophical examination, the article seeks to enlighten the performance processes of the musical phenomenon of free improvisation.
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Skewes, Katrina. "A Review of Current Practice in Group Music Therapy Improvisations." British Journal of Music Therapy 16, no. 1 (June 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 (October 17, 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 (December 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.
11
Després, Jean-Philippe, Pamela Burnard, Francis Dubé, and Sophie Stévance. "Expert Western Classical Music Improvisers’ Strategies." Journal of Research in Music Education 65, no. 2 (June 2, 2017): 139–62. http://dx.doi.org/10.1177/0022429417710777.
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The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice’s aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers’ thinking processes are not yet thoroughly documented. As a result of this gap, our research addresses the following question: What strategies are implemented in the course of performance by Western classical music improvisers? To answer this question, semistructured interviews were conducted with five internationally recognized Western classical music expert improvisers. Each participant improvised, and immediately afterward, a retrospective verbal protocol with subjective aided recall data collection strategy was used to elicit the improvising musician’s strategies. After transcription, the interviews were coded and analyzed using NVivo 10 software, with a mixed (i.e., combining inductive and deductive coding) category approach. Our data revealed 46 improvisation strategies that were subsequently organized into five categories: preplanning, conceptual, structural, atmospheric and stylistic, and real time. Pedagogical implications arising from these findings are that (a) learners should be guided toward implementing various strategies and (b) the capacity to switch from one strategy to another according to the circumstances should be promoted.
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
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Zavadska, Galina, and Asta Rauduvaite. "FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 817. http://dx.doi.org/10.17770/sie2020vol5.5015.
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A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the process of composition it is possible to stop, to think everything over, to correct something and change it. Improvising and composing at sol-fa lessons are classified as kinds of creative music making. This paper is concerned with the analysis of the types of creative tasks at group classes on sol-fa, as well as with the comparison of different approaches to and methods of the formation and development of creative skills in improvisation and composition in the initial stage. Research aim: to determine and characterize the specific features of using improvisation and composition at sol-fa lessons in the initial stage. Research methods: the analysis of pedagogical experience, the comparison of contemporary methodologies for teaching improvisation and composition.
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Ford, Charles C. "Free collective improvisation in higher education." British Journal of Music Education 12, no. 2 (July 1995): 103–12. http://dx.doi.org/10.1017/s0265051700002552.
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Free improvisation has two sources in the avant garde jazz, and experimental classical practices of the 1960s. Appeals to freedom, musical or otherwise, often result in more limitations. Sessions at Thames Valley University are managed by the students, and involve intense debate concerning how best to maximise collective musical freedom. Performances are triggered by individually prepared plans, which take the form of intervallic and rhythmic cells, registrally distinct roles, formal markers, dynamic processes, and even evocative poetics. Free collective improvisation in the classroom rewards sensitivity and sustained, intense concentration with a confrontational and convivial, ethical and musical, experience.
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de Bruin, Leon R. "Expert voices in learning improvisation: shaping regulation processes through experiential influence." Music Education Research 19, no. 4 (July 4, 2016): 384–97. http://dx.doi.org/10.1080/14613808.2016.1204279.
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Aliel da Silva, Luzilei, Damián Keller, and Rogério Luiz Moraes Costa. "The Maxwell Demon: a proposal for modeling in ecological synthesis in art practices." Revista Música Hodie 18, no. 1 (June 19, 2018): 103–16. http://dx.doi.org/10.5216/mh.v18i1.53575.
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This paper aims to expand the research on ecological synthesis models (KELLER, 1999) through the inclu- sion of improvisation practice. We propose a formalization of creative processes in sonic improvisatory-compositio- nal environments (targeting comprovisation), based on ecologically grounded creative practices. Our approach en- tails the use of socio-ecological models that deal with complex adaptive systems [SIBERTIN et al., 2011]. We develo- ped a performance/experiment called The Maxwell Demon, as a case study. The observations done during the study indicate that imitation is an important strategy for creative activities in socio-ecological systems. Improvisation may provide a relevant sonic content in ecological environments, enhancing their flexibility without losing consistency. Keywords: Comprovisation; Socio-Ecological System; Performance/Experiment
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Nooshin, Laudan. "The song of the nightingale: Processes of improvisation indastgāh Segāh(Iranian classical music)." British Journal of Ethnomusicology 7, no. 1 (January 1998): 69–116. http://dx.doi.org/10.1080/09681229808567273.
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Roden, David. "Promethean and Posthuman Freedom: Brassier on Improvisation and Time." Performance Philosophy 4, no. 2 (February 1, 2019): 510–27. http://dx.doi.org/10.21476/pp.2019.42230.
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Ray Brassier's "Unfree Improvisation/Compulsive Freedom" (written for the 2013 collaboration with Basque noise artist Mattin at Glasgow's Tramway) is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour.Brassier does not provide a detailed account of how self-determination works in improvisation. His text implies that the act of improvisation involves an encounter between rule-governed rationality and idiomatic patterns or causes but does not specify how such rules operate in music, what their nature is or how the encounter between rules and more rudimentary “pattern-governed” behaviour occurs.I will argue that, in any case, there are no such rules to be had. Instead, claims about what is permissible or implied in musical processes index highly-context sensitive perceptual and affective responses to musical events. I develop this picture in the light of recent accounts of predictive processing and active inference in cognitive science.This account provides an alternate way of expressing Brassier’s remarks on the relationship between music and history in “Unfree Improvisation” one that eschews normative discourse in favour of an ontology of social and biological assemblages, their affects, and the processes they entrain.This adjustment is of more than aesthetic interest. Brassier’s text suggests that the temporality of the improvising act models an insurgent relation to time: specifically, the remorseless temporality explored in his writings on Prometheanism and Radical Enlightenment. I will conclude by using use this analogy to elaborate the idea of a posthuman agency adapted to a hypermodern milieu of self-augmenting technological change.
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Lisovska, Tetyana. "Interpretation and improvisation as a manifestation of creative performing thinking of future educators." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 77–83. http://dx.doi.org/10.24195/2617-6688-2019-3-11.
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The author highlights the aesthetic aspect of interpretation and improvisation as components of musical creativity; the factors of effective influence on the formation of students’ creative personality of higher education institutions have been revealed. Interpretation means description, specification, explanation, translation into a clearer language. Three basic types of interpretation such as scientific, every day and artistic have been substantiated in the article. The variability of interpretation is explained by the indispensable presence of improvisation in performer’s creative thinking. Improvisation is considered as one of the most important components of musical thinking, musical form and specificity of creative performance. Creative processes of performing are based on intrinsic improvisationalism, a performer’s ability to vary widely the content links of the form, to create each time seemingly new integrity. Solving this problem requires a further in-depth study of a great many of its aspects, including the problem of training future preschool educators in music-creative pedagogical activity. Creativity in professional pedagogical activity is a prerequisite and guarantor of achieving the highest efficiency of the teacher’s work, the most complete realization of its opportunities. Despite various studies in the field of future teacher professional training, there is a need to identify its new promising paths, a new education system, as well as to provide conditions for the fullest disclosure of personality’s abilities alongside with his / her professional qualities. It has been established that by using the creative potential of art, in particular music, it is possible to really enrich the inner world of the individual and assist in reforming his / her spiritual orientations. The analysis of the aesthetic aspect of improvisation and interpretation as components of musical and artistic creativity requires attention to research in the field of aesthetics, history and theory of music, psychology of creativity, as well as musical education of preschool children. Keywords: performing activity, creative processes, art, musical hermeneutics, future specialist.
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Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (March 2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.
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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.
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Meadows, Anthony, and Katherine Wimpenny. "Meaning-making processes in music therapy clinical improvisation: an arts-informed qualitative research synthesis." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 48. http://dx.doi.org/10.1080/08098131.2016.1179954.
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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music." Music Therapy Perspectives 37, no. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
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Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (April 2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.
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This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specific values that continue to motivate our artistic approach. These practical accounts inform our discussion of tactility, proximity, effort, friction and other attributes that have shaped our strategies for designing musical interactions. The positive role of ambiguity is elaborated in relation to distributed agency. Finally, we employ the concept of ‘feedthrough’ as a way of understanding the co-constitutive behaviour of communication networks, assemblages and performers.
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de Bruin, Leon R. "The use of cognitive apprenticeship in the learning and teaching of improvisation: Teacher and student perspectives." Research Studies in Music Education 41, no. 3 (January 18, 2019): 261–79. http://dx.doi.org/10.1177/1321103x18773110.
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Instrumental tuition has predominantly been conceptualized in terms of a master–apprentice model that facilitates the transmission of skills, knowledge and cultural intellect through teaching and learning. Research suggests the one-to-one tuition model needs to evolve and adapt to meet the demands of the 21st century musician. Within the jazz/improvisation lesson, the learning and teaching of improvisory ability is a complex activity where developing improvisers hone motor-specific skills, audiative ability, imaginative and creative impulses that connect and respond to strategic individual and collaborative catalysts. Observing the negotiation of learning and teaching in three lessons in improvisation between expert practitioner-educators and their students, this study reveals a cognitive apprenticeship model that can provide a framework for teachers to develop students’ cognitive and meta-cognitive abilities, and understandings of expert practice. Case studies of three teacher-practitioners and their advanced students explore the “in the moment” teacher–student interactions and teaching techniques that expert improviser-educators utilize in developing mastery and expertise in their students. Teaching to an advanced improvisation student is a dynamic, fluid and reflexive interplay of pedagogical applications of modelling, scaffolding, coaching, and reflective processes. The holistic imparting of knowledge can be understood as a cognitive apprenticeship. Careful guidance by a teacher/mentor can offer the student an immersive environment that brings thinking, action and reflection to the forefront of learning. Implications are identified for more effective, collaborative and inventive ways of assisting learning and inculcating deeper understandings of factual, conceptual and problem-solving concepts that draw students into a culture of expert practice.
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de Bruin, Leon R. "Evolving Regulatory Processes Used by Students and Experts in the Acquiring of Improvisational Skills: A Qualitative Study." Journal of Research in Music Education 65, no. 4 (November 17, 2017): 483–507. http://dx.doi.org/10.1177/0022429417744348.
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The way an improviser practices is a vital and significant aspect to a musician’s means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist and socioculturally explained and manifest in individual, jointly negotiated, and shared learning. This qualitative study explores the regulatory processes of four prominent Australian improvising musician-educators and four tertiary improvisation students. Expert and developing musicians’ processes in learning and teaching improvised music-making were investigated through observations of self-regulation, co-regulation, and shared regulation strategies. I identified and analyzed regulatory learning strategies located from practice, training, and experience using interpretative phenomenological analysis. Findings suggest insights of evolving self-regulative behavior that are dynamic, task-specific, personalised, and contextually contingent across individual and collaborative tasks and activity. An integrative regulatory model of learning offers guidance and reflection of metacognitive flow within a social constructed view of learning. Implications for researchers and educators are drawn for meaningful educational practice by knowing and understanding expert improvisers’ complex concepts of self-regulation, critical thinking, problem solving, and the evolution and evaluation of creative processes in improvisers.
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Young, Susan. "The Interpersonal Dimension: A Potential Source of Musical Creativity for Young Children?" Musicae Scientiae 7, no. 1_suppl (September 2003): 175–91. http://dx.doi.org/10.1177/10298649040070s109.
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This article describes one strand of a study of self-initiated improvisation among three- and four-year-olds attending nursery education in London which aimed to understand some fundamental, generative processes. Early in the study differences had been noted between children's music play with an adult in comparison with play alone. Rather than seek to abstract the sound of children's music from all contextual features, as other studies of children's creativity have done, this study took as one of its main foci, the nature of children's improvisation when playing with an adult partner. For the purposes of the study, young children's play on an Orff xylophone was continuously recorded on video-tape. A transcription of the video data focused initially on the close observation and identification of small units of behaviour. The children's visible music play behaviours were analysed as situated systems of interaction between the child's movements, the structure of the xylophone and social interactions with an attendant adult. The study had three successive phases, each undertaken in a new nursery with a new sample of children. In total, 95 children took part across the three phases. The evolving nature of this phased study allowed salient aspects of children's play to emerge from a process of constant comparison and revaluation of the video data. It is proposed that the social interactive processes of play are one generative source of the child's musical ideas. These ideas are understood, first, as arising from the child's movement vocabulary and the play potentials of the instrument itself. Then, with a participatory adult, the child's play with the instrument is further structured by the intention to communicate. With reciprocating and “attuned” adult partners, the children began to play in spontaneously well-balanced, phrased exchanges, they created accumulative sequences, linked and transformed musical ideas and played with expressively varied dynamics.
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Sparti, Davide. "Acta Fluens – Generatives Handeln und Improvisation im Jazz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 49–60. http://dx.doi.org/10.28937/1000106237.
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Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.
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Usher, Julia, and Susan Greenfield. "Lighting up the Mind: Evolving a Model of Consciousness and its Application to Improvisation in Music Therapy." British Journal of Music Therapy 12, no. 1 (June 1998): 4–19. http://dx.doi.org/10.1177/135945759801200102.
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This paper explores Professor Susan Greenfield's theory of Neuronal Assembly Formation (Neuronal Gestalts) within a clinical music therapy context. Neuronal events in the brain are seen not only as shaping the physiological and communicative responses of the client, but also contributing to the character of the musical material itself, as it evolves in improvisation. This paper describes work with adults with profound learning difficulties living in a long-term residential unit. For these non-verbal clients, music becomes a primary language for translating and exchanging feelings and meanings. Greenfield's Concentric Theory offers new ways of analysing and characterising the somatic and neurological processes of stimulation and arousal underlying this process in each individual. Some current theories of consciousness are compared, and the evidence for possible links between the formation of neuronal assemblies and the development of musical gestalts is investigated through a series of case studies.
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Robledo, Juan Pablo, Sarah Hawkins, Carlos Cornejo, Ian Cross, Daniel Party, and Esteban Hurtado. "Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence." PLOS ONE 16, no. 4 (April 15, 2021): e0250166. http://dx.doi.org/10.1371/journal.pone.0250166.
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This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants–all non-musicians–conversed before and after either improvising music together (Musical Improvisation—MI—group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy—HB—group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants’ motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group’s motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.
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Becker, Kelly Mancini. "1, 2, 3, Action: Using Performance in Higher Education to Develop Teachers and Learners." LEARNing Landscapes 13, no. 1 (June 13, 2020): 41–51. http://dx.doi.org/10.36510/learnland.v13i1.1001.
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This paper explores the use of performance in a college-level course that teaches education majors how to use drama, dance, and music in their instruction. Students engage in drama activities such as improvisation and playbuilding in an effort to experience firsthand the benefits of such practices for their future classrooms. The essay shares some of the students’ experiences in this course. A common outcome shared is that the processes encouraged students to get out of their comfort zone, which they found beneficial to their learning. The essay examines how having students perform may help them develop as both a learner and a future teacher.
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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (December 15, 2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.
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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with music in therapy and rehabilitation: dance, recreation with music and movement, gymnastic with music and physical improvisation. The effectiveness of methods that use sound and movement in hearing and speech therapy is due to fact that: music and speech include rhythm, melody, tempo, volume, articulation, timbre, phrasing, accents etc.; speech development can coincide with motor development. The movement is main form child’s development. Disorders in the motor development of the child have a direct or indirect impact on the development of the child’s speech. When we teach our child motor development, also we support the development of speech, becouse the brain has one point that connect these two features. Music and movement activities with elements of music therapy, choreotherapy and rhythm therapy trains sense of rhythm, hearing and music memory and it is very important for harmonious and quiet growing up child’s – on a intellectual, physical, emotional and social plane, because of it all of processes that work in adult organism are improved. Main objective of the activities is develop different skills, attitudes and habits.
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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.
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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by analogy” (according to Aristotle), and in music it relates both to the field of theory (views on music as a form of art) and practice (musical and artistic phenomena as the products of composer and performing art).The article proposes a classification of rock music paradigms, which are based on the available data on the aesthetics and communication of jazz and notes that rock music on the path of its evolution has passed a number of stages, which in general can be designated as paradigms. The article suggests a comparative description of the movement of aesthetic and communicative paradigms of jazz and rock music. It is noted that in jazzology this issue has long been relevant, which is not the case for the study of rock music. Despite all the differences in the time of emergence and the nature of evolution, vocabulary and semantics, social functions, jazz and rock have many “common points”. The results of the research. Such features, of jazz and rock music, as improvisational nature, a variety of intonational sources that combine multinational and diverse trends are revealed and systematized as common points. Among the special features are distinguished such as the reliance of jazz mainly on the instrumental and rock music on a mixed vocal and instrumental basis; first is referring to “elitist”, second is referring to “mass”. Various syntheses are also common in jazz and rock music, as well as the correlation of composition and improvisation, performing and authorial principles. It is not so much about mutual influences and syntheses, but about the directions of evolution, the general nature of which is defined as the movement from “realistic” to “phenomenological” (A. Soloviev on the jazz paradigms). At its onset, rock music, like jazz, has been “embedded” in the system of the social and political movement, where its autonomous aesthetic function was not yet identified (youth movements of the 1960s, within which the corresponding “protest music” arose). In the process of mastering vocabulary specific to rock music as a phenomenon of the “third” layer, a new paradigm arose, characterized first as conventionally realistic, and then as conventionally autonomous, where rock music reaches the level of professional art in which laws and rules are established by its representatives themselves (this period begins from the Beatles and will continue further by their followers – “Rolling Stones”, “Led Zeppelin”, “Deep Purple” and other groups). It is noted that “people of rock” as well as “people of jazz” are a special social and communicative community, in which the idea of free communication is the main and determining one, where social, interpersonal, and actually musical factors intertwine. The unifying communicative factor in jazz and rock music is the art of improvisation, in which, in symbiosis, the processes of creating and performing music coexist spontaneously, but are subject to certain paradigm settings. It is emphasized that in the social context, jazz and rock differ in ethnic and age factors, which, however, is eventually overcome in modern global society through consolidation (convergence of African-American and European sources of jazz, transition of rock groups to a more general theme that differs from the original youth focus). It is also noted that rock music, unlike jazz, is too deeply connected with social factors and is always based on topical themes, generalized with varying degrees of artistry. Therefore, its degree of autonomy is much lower than that of elite jazz, which by the last decade of the 20th century had turned into the officially recognized salon art, or into a “conglomerate” consisting of pop elements of various kinds close to the aesthetics of the show industry. It is proved that the differences between jazz and rock music are most clearly manifested at the level of radical-and-phenomenal paradigm, which means plunging into the realm of banal “nothing”, where acts (but actually – does not act) the principle of “no wave” (A. Soloviev about jazz) . While jazz in the post-bop period developed towards elite art under the Free rubric, the extreme expression of which was spontaneous collective “impersonal” (lack of leadership, lack of frontman), the style of rock music developed in a different direction, the vector of which can be considered the opposite of jazz. Firstly, in the field of stylistics and language as its primary carrier, rock music meant a return to improvisational syncretism – a dramatic combination of poetry and music. Secondly, rock music is directly immersed, unlike elite jazz with its style of full linguistic freedom and collage, in the realm of relevant musical and poetic vocabulary, coming not from the rhetorical type of creativity (translating “artificial” into “new artificial”), but from the realities of the set of generally accessible linguistic means, which exists at a given historical moment (and in a certain “geography”). In the conclusions of the article, it is noted that rock music, even in its experimental radical and phenomenological manifestations, associated mainly with the sound realm (electronics, dynamics), remains, as a whole, the phenomenon of pop culture. This does not mean the absorption of rock art by the realm of mass consumerism. The best rock music pieces, which have already become classic, combine in reasonable proportions the “elite” (innovative) and “mass” (traditional), give a special rational embodiment of the idea of combining improvisation and composition – the “cornerstone” in the musical art of the entire “third” layer. The aesthetics and communication of rock music in its latest paradigms are differentiated according to the criteria of various stylistic inclinations – genre, national, regional, personal. Therefore, the study of modern rock music is the task of a number of separate studies devoted to specific issues of the problem, in particular, its main difference from jazz, namely, in the vocal and instrumental nature.
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Heal, Margaret. "The Use of Pre-Composed Songs with a Highly Defended Client." Journal of British Music Therapy 3, no. 1 (June 1989): 10–15. http://dx.doi.org/10.1177/135945758900300103.
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This paper illustrates how pre-composed songs which have special meaning for the client can serve as an intermediary phenomenon in psychoanalytically-informed individual music therapy, providing opportunities for the therapist and client to develop shared meanings within the therapeutic boundaries. The client is a teenage boy with moderate learning difficulties who has suffered abuse and deprivation. He is seen as highly defended, presenting an ‘opportunist’ secondary handicap (Sinason 1986) in response to earlier traumas, and as having a limited potential space (Winnicott 1971). Pre-composed songs which had special meaning for him were able to contain his emotions in a structure that was digestible for him. The use of these songs was not seen as a substitute for free improvisation, but as a necessary precursor. After an introduction, the first five music therapy sessions will be described, followed by a conclusion discussing the underlying therapeutic processes. The setting is a secondary special school in north London. Music therapy is the only formal therapy offered for children who have been deprived, neglected, and/or abused, and who struggle with the reality of handicap every day.
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Paynter, John. "Generative Processes in Music: The Psychology of Performance, Improvisation and Composition edited by John A. Sloboda. Oxford: The Clarendon Press, 1988. £35.00, 298 pp." British Journal of Music Education 5, no. 2 (July 1988): 204–6. http://dx.doi.org/10.1017/s0265051700006598.
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Redhead, Lauren. "'Entoptic landscape' and 'ijereja': Music as an iterative process." New Sound, no. 49 (2017): 97–113. http://dx.doi.org/10.5937/newso1749097r.
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Entoptic landscape and ijereja are both works that can be considered as expanding collections of materials. They explore the spaces between composition, notation, performance and improvisation by considering all of these activities as equally 'performative'. Each work comprises a set of materials that includes scores, fixed media audio and video, recorded live performances, studio-edited performances, and performance strategies. In the case of each piece, materials created in and by previous performances go on to inform future performances of the music. As such, there can be no 'definitive' performance or statement of the works, and nor can they ever be considered finished or bounded. This is how these pieces conceive of music as an iterative process: they are intended as statements of that process. Nicholas Bourriaud (2010) identifies the creative artist as a 'semionaut': one who must navigate between signs and signifiers in order to negotiate, interpret, and create meaning. In the 'work' of music, the composer, performer and listener can all be thought of as semionauts; they take part in the same processes to create and recreate the 'work'. In my own practices I embody and enact all three of these positions, and I seek to blur the boundaries between listening, performing and composing. Contemporary artistic forms in Bourriaud's terms, then, are 'journey forms': they internalise and externalise an experience of movement through the work as a temporal and spatial territory. The music presented here offers an opportunity for the exploration of the journey form as a compositional strategy, a tool for performance and interpretation, and a framework for criticism.
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Chan, Clare Suet Ching, and Zaharul Lailiddin Saidon. "Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 9–22. http://dx.doi.org/10.15294/harmonia.v21i1.28715.
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This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.
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Neuman, Israel. "Generative Tools for Interactive Composition: Real-Time Musical Structures Based on Schaeffer's TARTYP and on Klumpenhouwer Networks." Computer Music Journal 38, no. 2 (June 2014): 63–77. http://dx.doi.org/10.1162/comj_a_00240.
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Interactive computer music is comparable to improvisation because it includes elements of real-time composition performed by the computer. This process of real-time composition often incorporates stochastic techniques that remap a predetermined fundamental structure to a surface of sound processing. The hierarchical structure is used to pose restrictions on the stochastic processes, but, in most cases, the hierarchical structure in itself is not created in real time. This article describes how existing musical analysis methods can be converted into generative compositional tools that allow composers to generate musical structures in real time. It proposes a compositional method based on generative grammars derived from Pierre Schaeffer's TARTYP, and describes the development of a compositional tool for real-time generation of Klumpenhouwer networks. The approach is based on the intersection of musical ideas with fundamental concepts in computer science including generative grammars, predicate logic, concepts of structural representation, and various methods of categorization.
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Custodero, Lori A. "Origins and expertise in the musical improvisations of adults and children: a phenomenological study of content and process." British Journal of Music Education 24, no. 1 (February 9, 2007): 77–98. http://dx.doi.org/10.1017/s0265051706007236.
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This study explores the musical content and human processes of improvisations of children and adults using the phenomenological lenses of time, space and responsivity. Paired improvisational performances of two late-career adult composers and two 7-year-old children were analysed considering a lifespan-related perspective involving the origins of spontaneous musical creativity associated with childhood dispositions and the musical expertise gained from practice, training and experience. Findings suggest that origins and expertise are operating in improvisational experiences of children and adults. Implications are drawn for musically meaningful research and evaluation of children's improvisations.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Grodecka, Aneta. "Aposiopesis albo figury myśli w dobie ucieleśnionego umysłu." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 87–105. http://dx.doi.org/10.14746/pspsl.2018.34.4.
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The Author is interested in the states of becoming silent, discontinuing one’s utterance, which are associated with certain mechanisms of the functioning of the brain, as well as in the observation of such states in different artistic disciplines. Looking for an answer to the question how aposiopesis operates in words, sounds, and images, she analyzes pieces of music, poems (Zbigniew Herbert’s Pora), and examples of visual arts (Wojciech Pakmur’s paintings of the tango). In her reconstruction of the research field, the Author refers to rhetoric ( Jerzy Ziomek, Seweryna Wysłouch), the philosophy of language (Michel Foucault, Jean-François Lyotard), and neurophenomenology. The aim of the article is to suggest a new mode of reading that seeks inspiration and language in works from the field of neuropsychology (Maria Pąchalska), hermeneutic phenomenology (Mark Johnson), or neurology (António Damásio, Oliver Sacks). The Author’s analyses refer to Raoul Schrott and Arthur Jacobs’s concept (Gehirn und Gedicht, 2011), and the conclusions confirm that one should not look for a model (pattern) in the reception of art, but describe mental processes. The proposed mechanism of interpretation is most accurately reflected by the metaphor of dance improvisation, where one does not meditate on and then perform particular steps and gestures, but “thinks in motion.” This mode of reading emphasizes the spatial dimension of thought processes and their dynamic nature.
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Kharitonova, Natalya S. "Synthesis of Arts in Vasily Kandinsky's Creative Work." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 96–104. http://dx.doi.org/10.17816/vgik9496-104.
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The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky develops not only the theory of the influence of color and color combinations on the viewer, but argues that the form (abstract or geometric) has an inner sounding in turn. Thus, straight lines are youthful, the curves convey maturity, the point is a small world, the horizons sound cold and flat, the verticals are warm and sublime, sharp corners are warm, while straight lines are cold and austere. Vasily Kandinsky believed that the composition was a chord of colorful and picturesque forms that exist independently as such, which are caused by inner necessity and constitute the whole, called a painting. The artist claimed that our harmony is based mainly on the principle of color and sound contrast. Not accidentally, Vasily Kandinsky, noting a strong impression in his youth from Wagners operas, entered the Monogram signature on his works in the triangle, and used musical terms for titles of his works: improvisation, composition, Fugue, Concerto, Suite, and others. Defining the scenic arts as part of spiritual life, which contributes to moving forward and upward, Kandinsky developed not only the theory of color effects and color combinations on the viewer, but argued that the form (abstract or geometrical) has inner sound in turn.
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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.
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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational component of musical thinking today. The need for such analysis is connected with vocal-performing training of contemporary choirmasters. The choral collective is a complex musical organism, and its successful work depends not only on the conductor, but also on the performers, therefore, there is a question of improving the complex development of the vocal-technical skills of the choirmaster, taking into account the specifics of his/her future activities. Methods. The scientific and methodological basis of improving the performing skills must be deepened in the issues of the psychology of performance and expanded with the questions of combining the choral performance with theatre. Due to such a methodological basis, it is possible to study extremely complex psychological processes of artistically meaningful vocal intonation, formation, control and implementation of performing skills, peculiarities of the psychological state of the choir performers, etc. The article is based on the analysis of materials on the development of the choral performance in various artistic directions and their synthesis (Kyrylenko, Ya., 2017; Ryzhynsky, A. 2015, 2016; Saponov, M., 1982), as well as the study of psychophysiological regularities of the vocal education in different performance conditions (Lukishko, A. 1984; Morozov, V., 2008, Selezneva, N., 2005). Objectives. The purpose of the article is to consider the performance tasks in the contemporary choral art and to outline the factors that shape the skills for the implementation of these tasks. Results. The analysis of the development of the vocal-choral art proves that vocal-technical means are defined and formed in unity with the performing tasks that characterize certain musical trends, styles or genres. Throughout the 20th century, in the choral art appears the works that became the result of the composers’ search for new versions of the timbre sound. The representatives of the new Viennese school A. Schoenberg and A. Webern were the first to overcome the timbre “conservatism” of the choir. In the choral creative activities by A. Schoenberg, the experiments with the use of timbre can be found. Namely, the use of expressiveness of the unison of the alt and tenor and the falsetto singing of the tenor, which provided for the alignment of the timbre and corrected dynamic misbalance of the artificial ensemble of tenor and soprano. However, the further introduction of falsetto singing was no longer a technical necessity, but became a means of a new expressiveness. The experiments are typical for the choral creativity by A. Webern, where the following two tendencies are clearly distinguished: 1) the jump-like structure of the melody in combination with syllabics; 2) the presence of pauses, which divide the motive into separate intonations. The purpose of the texture transformation was to uncover a fundamentally new sound of the choir, the creation of a new choral timbre. A. Webern achieves the timbre richness through a constant game with various nuances, strokes, and juxtaposition of the singing registers. The Italian composers L. Nono (1924–1990), B. Maderna (1920–1973) and L. Berio (1925–2003) became the followers of Webern’s creative experiments with regard to the organization of sound, the texture of the composition and timbres. In their creative work, they showed the possibility of an organic combination of centuries-old traditions of the vocal art with the latest composition techniques. In the modern choral art, a great interest is paid to theatrical actions during the choral performance. Hence, the new performing tasks rise for both, the conductor and performers of the choir. So, in the dramatized choral performance, a personality of an actor-singer is characterized by a certain complex of skills. The latter include ownership of different types of expressive intonation: vocal intonation, the verbal intonation and the acting intonation or the intonation of the gesture. The choral performer’s instrument is a singing voice. The vocal development of choral singers bases on the objective laws of the singing, the basis for understanding of which is the positions of musical acoustics. The choirmasters need to know, which acoustic patterns influence the formation of the singing voice in the choir, which of its properties develop automatically, and which require special techniques that stimulate an individual development. Another important aspect on which it is necessary to focus attention in the modern vocal education is the improvisational thinking, the ability to creative ingenuity. The tasks of the modern choral art are the preservation, the development, and sometimes the revival of the traditions of improvisational vocal-ensemble music. The solutions of these tasks one should look for in several directions. The first of them is the preservation of the traditions of Western European professional polyphonic (counterpoint) music, which is determined by the highest level of combination of the canonically invariable melody, of the cult or secular, with improvisational melodic decorations. The second is due to the preserving the traditions of collective vocal improvisation in folk singing cultures. The third direction is due to performance tasks, which are provided by the composers’ creativity of contemporary authors. Conclusion. The contemporary choirmaster needs to have a wide range of knowledge in the questions of history and theory of the world music, choral science, vocal pedagogy, acting skills, psychology, without which it is impossible to solve numerous issues that constantly arise in practice. The choirmaster must develop a critical and analytical thinking in him/her, be able to judge right the work of his/her mind and be thoughtful in the actions. The creative approach in work contributes to the flexibility in solving any problems – perhaps, it allows to abandon the usual techniques in work, which at the present moment do not produce the desired results. Practice is the only criterion for the truth of the selected actions.
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Augustyniak, Sylvana. "The impact of formal and informal learning on students’ improvisational processes." International Journal of Music Education 32, no. 2 (October 31, 2013): 147–58. http://dx.doi.org/10.1177/0255761413502440.
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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.
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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to grow. The repertoire mainly contains folk songs with a piano accompaniment. To develop a creative attitude, the training uses interdisciplinary approaches. The students are pushed into using the knowledge they've received from other classes (Music theory, solfeggio, Musical analysis, Piano class). For example to recognize the type of piano accompaniment; the type of introduction; the purpose of the piano accompaniment in the song itself. An important moment is tracking and understanding the connection between voice and instrument ,between being a solo performer or a part of a chamber ensemble.There is a special part of the repertoire which present non-standard composition tools- aleatoric models, improvisational thinking, compositional interpretation. The practice approaches are: assimilation of the abilities and knowledge (orientation, activities …); detail reading of the songs context; learning how to be, behave and act as a performer; professionally training the students how to become qualified teachers.
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Stock, Jonathan. "Three "Erhu" Pieces by Abing: An Analysis of Improvisational Processes in Chinese Traditional Instrumental Music." Asian Music 25, no. 1/2 (1993): 145. http://dx.doi.org/10.2307/834194.
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Tafuri, Johannella, Gabriella Baldi, and Roberto Caterina. "Beginnings and Endings in the Musical Improvisations of Children Aged 7 to 10 Years." Musicae Scientiae 7, no. 1_suppl (September 2003): 157–74. http://dx.doi.org/10.1177/10298649040070s108.
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Many factors influence the activation and maturation of the compositional process in children. Although there are numerous studies on children's processes, production and behaviour, little has been done concerning the influence of the didactic strategies used by the teacher, which may actually encourage or suppress such processes. Children are generally asked to create a composition that has a beginning, a middle and end, but we wondered whether it was really necessary to request this structure or if children of a certain age already adopt it spontaneously, so teachers can use such skills as building blocks for further learning. We investigated if children, without any specific music education, possess a certain ability to use specific types of beginnings and/or endings and how they improve. We asked 132 primary school children, aged 7–10, to perform six improvisations, five with a soprano glockenspiel, and one with tambourine. A total of 792 pieces were recorded and analysed using a specific classification system. After referring to studies on musical theory and semiotics to clarify the concept of beginning and ending in a piece of music, we are presenting the results which show that a certain percentage of children aged 7 already possess the mentioned skills, and that there is a gradual spontaneous acquisition of the beginning/ending conventions. Children improve year by year, with greater progress between 8 and 9 years.
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BENNETT, JAMES. "Béla Bartók's Evolutionary Model of Folk Music." Twentieth-Century Music 13, no. 2 (August 16, 2016): 291–320. http://dx.doi.org/10.1017/s1478572216000062.
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AbstractIn his ethnomusicological writings and lectures, Béla Bartók describes folk music as ‘a natural product, just like the various forms of animal and vegetable life’ and elaborates this view, going on to describe a collection of developmental processes modelled explicitly on biological evolution. In this article, I characterize Bartók's evolutionary model by laying bare the taxonomies and genealogies inherent in his classificatory system. Then, through an analysis of the fifth of hisEight Improvisations on Hungarian Folk Songs(1920), I suggest the outlines of a method for interpreting and analysing Bartók's music engendered from this evolutionary model, a method that involves the elaboration of two ideas: (1) a conceptual shift from a relatively historically static major/minor tonality to a multivalent, ‘evolving’ tonality, and (2) the reconception of motives or themes as having no single original forms, but rather as being related genetically, as somehow evolving in their own right.
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Schmid, Wolfgang. "A penguin on the moon: Self-organizational processes in improvisational music therapy in neurological rehabilitation." Nordic Journal of Music Therapy 23, no. 2 (May 10, 2013): 152–72. http://dx.doi.org/10.1080/08098131.2013.783096.
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Dance, L. Janelle, Rochelle Gutiérrez, and Mary Hermes. "More Like Jazz Than Classical: Reciprocal Interactions Among Educational Researchers and Respondents." Harvard Educational Review 80, no. 3 (September 1, 2010): 327–52. http://dx.doi.org/10.17763/haer.80.3.647281lu61582r82.
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In this article, educational scholars L. Janelle Dance, Rochelle Gutiérrez, and Mary Hermes share insights from their lived experience as qualitative researchers trying to work in collaboration with diverse populations. They refer to these insights as "improvisations on conventional qualitative methods," reminding readers that their methodological approaches have been more collaborative than unilateral, more fluid than unyielding, more like the reciprocal creativity of jazz than the directed orchestration of classical music. Calling on us to expand our previous conceptions of cultural intuition and reciprocity, these authors offer powerful examples of how their communities shaped their research processes.