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Tesi sul tema "Improvisation (Music)"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Abubakr, Mukryan. "Maqam - orientalisk improvisation : att utforska maqam-baserad improvisation på solocello." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4234.

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2

Clauss, Greg. "Ficino's Musica Humana musico-astrological improvisation /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/109/.

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3

Pavlicevic, Mercedes. "Music in communication : improvisation in music therapy." Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/20099.

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In this thesis I examine the philosophical and psychological literature on the human experimence of the ingredients of music, and pay particular attention to that body of literature which describes the interpersonal temporal and prosodic features of basic human communication, that is, the literature on non-verbal mother-infant interaction. I propose that improvisation in music therapy provides a pivotal synthesis for demonstrating the duality of music and basic emotional processes, and support this with experimental work.

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4

Wood, Colin. "Improvisation Methods: A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555578371828511.

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5

Lindvall, William. "Improvisation genom riktat lyssnande." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3127.

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Något jag funderat över mycket när jag själv som musiker spelat friare improviserad musik är hur man kan skapa olika tillvägagångssätt för att ta sig an sådan musik, även som nybörjare inom området. Jag har även tidigare jobbat med ensembler där jag behövt lära ut enklare förhållningssätt till improviserad musik och det har ofta gett goda resultat. Detta är högst aktuellt då den ensemble jag nu skrivit för bestod av musiker med varierande improvisationsvana och tanken har varit att alla på något sätt ska ställas inför improvisatoriska tillfällen under styckets gång. Den musik jag skrivit och valt att presentera i denna uppsats innehåller helt noterat, helt improviserat och kompnoterat material (vagare notation). Det jag syftar på med kompnotation kan exempelvis vara enklare genrerelaterade instruktioner som indikerar stiltypiskt ackompanjemang, till exempel när trummorna får instruktionen “Ballad, brushes” syftar det på ett vanligt balladkomp med vispar men lämnar det även öppet för tolkning och till viss del improvisation. En faktor musikerna dock inte har kontroll över är styckets storform då jag valt att själv styra detta i kompositionsprocessen - ett beslut jag tagit då detta leder till intressantare resultat än öppnare/friare improviserade former och för att det blir lättare att förhålla sig till för de musiker som inte är vana vid att improvisera.<br><p>Stycke: Constant Curve</p><p>Kompositör: William Lindvall</p><p>Musiker:</p><p>Trummor - Jonathan Leidecker</p><p>Trumpet/Flügelhorn - Joosua Sarikoski</p><p>Trumpet - Emma Granstam</p><p>Trombon - Elias Ukkonen Widding</p><p>Altsaxofon - Sebastian Jonsson</p><p>Tenorsaxofon - Björn Bäckström</p><p>Horn - Emil Engström</p><p>Basklarinett - Astrid le Clercq</p><p>Basklarinett - Daniel Gahrton </p><p>Kontraforte - Gabriella Vargas Karlsson</p><p></p>

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6

Gifford, Toby. "Improvisation in interactive music systems." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.

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This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.

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7

Alatalo, Elina. "Att spela en improvisation : C. Tournemires improvisation över Victimae Paschali." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2463.

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Denna uppsats handlar om Charles Tournemires (1870-1939) improvisation från 1930 över den gregorianska sekvensen Victimae Paschali. Improvisationen nedtecknades senare av Maurice Duruflé. Sekvensen återfinns i den svenska psalmboken från 1986 där den sjungs som en växelsång mellan kör och församling. Uppsatsen behandlar frågor gällande komposition och improvisation och den eventuella problematiken som kan uppstå i nedtecknandet av en annan musikers verk. Vad händer när man spelar musik som var menat att finnas en gång, där det framgått att upphovsmannen inte velat få den transkriberad? Hur mycket hänsyn till notbilden tar musikern när denne vet att det är en improvisation, gentemot när det rör sig om en komposition?<br><p>Konsertprogram, examenskonsert:</p><p>J.S Bach: Komm, heiliger Geist, Herre Gott (BWV 651)</p><p>D. Buxtehude: Toccata d-moll (BuxWv 155)</p><p>M. Reger: Melodia (Op 59 no 11)</p><p>C. Tournemire: ur <em>Cinq improvisation</em>: Improvisation sur le Victimae Paschali</p>

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8

Olofson, Olof. "Pedagogiska metoder för improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2520.

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9

Björk, Anders. "Lösa boliner : Att Komponera med improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2745.

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10

Kim, Haejin. "Organ Improvisation for Church Services: A Survey of Improvisation Methods from 1900." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314114572.

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11

Karlsson, Andreas. "Jag är livrädd... : En studie i att avdramatisera improvisation." Thesis, Örebro universitet, Musikhögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-57976.

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12

Walton, Ashley M. S. "Music Improvisation: Spatiotemporal Patterns of Coordination." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1457619683.

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13

Moretti, Francesco. "Musicians Can Fly : Heterogeneous material, Renaissance sources and contemporary group improvisation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2557.

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14

Bofill-Calero, Jaime Oscar. "Improvisation in Jíbaro Music: A Structural Analysis." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293561.

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Improvisation is regarded as the most sublime element in the jíbaro folk music tradition of Puerto Rico. This tradition originated by the jíbaro, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since jíbaro improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in jíbaro music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize jíbaro improvisations.Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in jíbaro music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of jíbaro performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.

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15

Hofman-Bang, Amanda. "Improvisation och klassisk musik : Att hitta in i musiken genom omprovisation." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86518.

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16

Ekberg, Love. "Dysforisk gestaltning : En studie att genom fri vokal improvisation gestalta könsdysfori." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86529.

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17

Tuominen, Mikael. "Fri improvisation : Hur tänker musikerna?" Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-174139.

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Mikael Tuominen: Fri improvisation - hur tänker musikern? Uppsala Universitet, musikvetenskap vt -98. Syftet med uppsatsen är att undersöka musikestetiken bakom fri improvisation sedd ur musikerns synvinkel. Undersökningen är framför allt baserad på litteratur skriven av verksamma musiker inom genren och på artiklar som delvis bygger på intervjuer med musiker. I arbetet med texterna används hermeneutisk och komparativ metod. I uppsatsen visas att genrebegränsningen för fri improvisation ligger i metoden. Denna går ut på att musiken skapas i nuet. Till metoden hör att man är fri att kombinera vilka ljud man vill, däremot är ingen opåverkad av andra idiom eller traditioner. Det som skiljer fri improvisation från annan musik är att man använder ljudets och omständigheternas föränderlighet i metoden. Varje ljud har lika stort värde och detta kombinerat med metoden gör att man ofta prioriterar klangen före andra parametrar. Musikerns språk utvecklas genom dialog med andra musiker. I ögonblicket för improvisationen eftersträvar musikern ett tillstånd där intuitionen och lyssnandet är primärt. Målsättningen med den fria improvisationen är kommunikationen och det konstnärliga verket i sig.

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18

Bofill-Calero, Jaime O. "Improvisation in Jibaro music A structural analysis." Thesis, The University of Arizona, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560809.

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<p> Improvisation is regarded as the most sublime element in the <i> jíbaro</i> folk music tradition of Puerto Rico. This tradition originated by the <i>jíbaro</i>, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since <i> jíbaro</i> improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in <i>jíbaro</i> music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize <i>jíbaro</i> improvisations. </p><p> Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in <i>jíbaro</i> music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of <i>jíbaro</i> performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.</p>

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19

Silkstone, Francis. "Learning Thai classical music : memorisation and improvisation." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388511.

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As in other oral traditions, the core of traditional training in Thai classical music is that the student memonses music given by the teacher. Teachers offer few explanations but give musical examples that transmit each skill at the right time for the student. Training on fiddles can be understood by considering three learned elements: Basic Melody: the essential structure of each composition, encapsulated in its most tangible form as the melody played on the large gong-circle, but internalised in increasingly subtle and fluid forms as the student progresses; Realisations of each composition for fiddles, improvised by the teacher and memorised by the student during each lesson; Various techniques of improvisation (ways of realising the Basic Melody of a given composition as a new melody for fiddle). Learning how to conceptualise the Basic Melody is inseparable from gaining competence in fiddle improvisation. Teachers' explanations concerning melodies they teach suggest transmission of a highly flexible conceptualisation of Basic Melody and a complex technique of improvisation. Three etic explanations of the latter are: 'Filling-in': the player inserts notes between the notes of the less dense Basic Melody so that the fiddle melody conforms to each pitch of the Basic Melody. 'Idiomatic elaboration': a fiddle melody is derived from the Basic Melody according to a musical 'grammar' in which every pitch need not conform to the v Basic Melody, though many pitches are likely to do so. Formulaic manipulation: for each Basic Melody formula, the fiddle player chooses one of several eligible fiddle-formulas, then spontaneously adjusts it in a manner appropriate to that context and moment. These three are sometimes alternative explanations of the same process, sometimes distinct processes. In each rendition, a teacher moves between the three processes. All three are necessary to the complexities and beautiful ambiguities of musical thought.

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20

McMillan, Rosalind. ""A terrible honesty" : the development of a personal voice in musical improvisation /." Connect to thesis, 1996. http://eprints.unimelb.edu.au/archive/00000219.

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21

Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.

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22

Burchman, Eon Kriya. "A dialogue on improvisation, space and melody| Larry Koonse's approach to improvisation." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591592.

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<p>This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn. </p>

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23

Pinto, Waldir de Amorim. "Nico Assumpção and jazz bass improvisation." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1049.

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The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.

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24

Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.

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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet.<br>This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.

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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "An intercultural approach to composition and improvisation." THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries<br>Master of Arts (Hons.)

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Stanyek, Jason. "Diasporic improvisation and the articulation of intercultural music /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3129936.

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27

Ryberg, Jonathan. "Att använda rytmik i sin improvisation : En studie av tre svenska jazzsaxofonisters solon." Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94555.

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Forsén, Karoliina. "Att skapa med rösten : En studie om improvisation som fritt skapande i sångundervisning." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-83523.

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Strazzullo, Guy. "An intercultural approach to composition and improvisation." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/501.

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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries

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30

DiPiero, Frank Daniel. "Contingent Encounters: Improvisation in Music and Everyday Life." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1553003282221435.

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31

Rose, Simon. "Improvisation, music and learning : an interpretive phenomenological analysis." Thesis, Glasgow Caledonian University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601629.

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This thesis explores the creative process of improvisation in music with a specific emphasis on investigating its potential for learning. The widespread practice of improvisation in music is relatively absent from education and there is an urgent need to more fully understand improvisation's processes. A broad body of knowledge of improvisation in music has developed within the international community of musicians whose practice is centred on improvisation and an understanding of this knowledge could become highly relevant for a variety of educational contexts. Ten highly experienced, world leading improvisers from Europe and North America took part in semi-structured interviews and were asked the over-arching question: What is the place of improvisation in your practice? Interpretive Phenomenological Analysis was the chosen method for the enquiry.

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32

Ahearn, Gavin. "Friendship and Anonymity in Collective Free Music Improvisation." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20923.

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Researchers interested in the musical practice of free improvisation have historically prioritised studies of improvisatory process at both the individual or group level. In the realm of jazz studies, discussions of group interactivity have long pointed to the role friendship plays in facilitating these processes (Berliner, 1994; Monson, 1997; Jackson, 2012) and recent qualitative studies of group decision making and interaction in jazz have demonstrated that the shared understanding embedded within relationships can help facilitate open environments ideal for free improvisation (Canonne and Aucouturier, 2015; Wilson and Macdonald, 2017). Yet parallel research into group creativity outside the jazz context has put forth an intriguing alternate idea – the notion that anonymity amongst group participants may also lead to openness during the collaborative process (Bryan-Kinns, Healey and Leach, 2007). This thesis unpacks the experiences of four Australian free music practitioners in terms of friendship and anonymity in an attempt to flesh out a spectrum of optimal conditions that might underpin successful free music exchanges. In doing so, it lays open potential areas of future research in terms of delineating how a range of different sorts of relationships might impact improvised group creativity.

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Koutsoupidou, Theano. "Improvisation and creative thinking in Primary music education." Thesis, University of Roehampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535854.

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Jennervall, Lovisa. "Vokal improvisation : En studie i att sjunga med och mot harmoniken." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3541.

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Abstract (sommario):

In this bachelor thesis, I explored vocal improvisation and the terms “out playing” and “in playing”. My ambition was to find new ways of exploring and developing my approach to improvisation, depending on the difficulty of the harmony. I presented a few methods that I have found useful in this process. Focusing on the upcoming graduation concert, I wrote two new songs with my thesis in mind and then applied the improvisation methods. I also practiced using the methods while singing jazz standards and older original compositions. In the last part of the essay, I reflected on if and how the different methods helped me in becoming more confident as an improviser. I came to the conclusion that I prefered singing “out” over simple chords than “in” over difficult ones but that I needed to work on both to achieve my improvisational goals. I also described why choosing musicians that made me feel safe was essential and how the graduation concert was affected by the Covid-19 pandemic.<br><p>Abyss (Lovisa Jennervall), Giving in (Lovisa Jennervall), Hours (Lovisa Jennervall), Time for us (Lovisa Jennervall), For all we know (J. Fred Coots och Sam M. Lewis), When I grow too old to dream (Sigmund Romberg och Oscar Hammerstein II), Allt som börjar måste ha ett slut (Lovisa Jennervall)</p><p>Medverkande:Lovisa Jennervall - sång; Manne Skafvenstedt - piano; Anders Langørgen - kontrabas; Edvin Fridolfsson - trummor; Sebastian Jonsson - saxofon</p>

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Emch, Derek Z. "Pathways to the Practice of Free Improvisation." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604482209158012.

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Davidson, Neil. "Composition in improvisation : forms and otherwise." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2301/.

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This is a folio of compositions that interferes with composition and improvisation in practice and in theory. A resistance to theme and content is countered by proposing a very broad conception of form that brings into play anthropological and philosophical examples as well as a questioning of traditional musical forms. The pieces in general propose ways of composing and playing otherwise. The scores are interspersed with texts which engender relationships and patterns of thought pertinent to the workings of the pieces such that a critical position is articulated without resorting to longwinded argument. Audio recordings of the pieces are included at the rear of the document.

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Jonsson, Sebastian. "Möte mellan konst- och jazzmusiker : -utmaningar och lärdomar." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3601.

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In collaborations with jazz musicians and classical musicians, the focus has traditionally been on the composer. In this thesis, I have focused on the musicians in the project instead. The most important thing was to explore what could be learnt in such meetings and what challenges you might face. I have examined this in four topics: 1. Composition 2. Interpretation 3. Rehearsing 4. Improvisation In the project, I composed five pieces inspired by both jazz and European classical composers. To understand classical phrasing and to implement it in my own playing, I studied for classical teachers. In order to include classical musicians, so I developed several methods. Working closely with the classical musicians made the contrasts between the genres clearer. The contrasts between jazz and the classical way of working and playing made my tendencies more apparent and I became more aware, and in control over the way I played.<br><p>Ljud och bildupptagning gjordes under konserttillfället. Erik Tengholm vikarierade då på trumpetplatsen.</p><p>Kompositionerna i arbetet och de medverkande var som följer.</p><p><em><strong>Styrfart</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Victor Andersson, altsaxofon</p><p>Fredrik Jergle Almquist, fagott</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><em><strong>The Crow</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Anders Langørgen, kontrabas</p><p><em><strong>8</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett och basklarinett</p><p>Emma Granstam, trumpet och flugelhorn</p><p>Lars Ullberg, trombon</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><strong><em>Golem</em></strong></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, sopransaxofon</p><p>Kajsa Nilsson, tvärflöjt</p><p>Sabina Scott, oboe</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, klarinett</p><p>Victor Andersson, altsaxofon</p><p>Fredrik Jergle Almquist, fagott</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p><em><strong>Den inte så lille tennsoldaten</strong></em></p><p>Komposition: Sebastian Jonsson</p><p>Medverkande:</p><p>Sebastian Jonsson, altsaxofon</p><p>Kajsa Nilsson, tvärflöjt och piccola</p><p>Hugo Olsson, klarinett</p><p>Astrid le Clercq, basklarinett</p><p>Emma Granstam, trumpet</p><p>Lars Ullberg, trombon</p><p>Britta Virves, piano</p><p>Anders Langørgen, kontrabas</p><p>Jonas Bäckman, trummor</p><p></p>

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Strazzullo, Guy. "An intercultural approach to composition and improvisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051013.095017/index.html.

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Stocks, Theodor. "Ett oväntat samband : En studie i anslagsteknik och improvisation på pedal steel." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64072.

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Abstract (sommario):

Jag har sedan jag började spela pedal steel varit intresserad av hur instrumentet kan användas på olika sätt i olika sorters musik. Efter att ha hört musik där jag tycker pedal steel låter likt en klarinett blev jag intresserad av hur jag kunde ta fram det soundet ur instrumentet. Genom att studera ett antal låtar och solon har jag fått en djupare förståelse för hur en klarinett låter i swingmusik. Jag har utformat ett antal övningar utifrån de upptäckter och svårigheter jag har stött på, vars mål är att göra mitt sound mjukare och mer likt en klarinett. Övningarna har kompletterat inlärningen av låtar och solon och tydliggjort de faktorer jag tycker ha bidragit till mitt resultat. I den här studien har jag upptäckt olika speltekniska faktorer som kan bidra till att en pedal steel låter mer som en klarinett, framförallt hur jag gör mitt anslag för att få ett mjukare sound. I arbetets avslutande del behandlar jag mina frågeställningar och kommer fram till studiens styrkor respektive svagheter. På vissa områden har min metod visat sig vara mycket effektiv och på andra områden skulle metoden kunna utvecklas och förbättras.

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40

Schnittgrund, Tammy Lynn. "Middle school string improvisation and composition a beginning /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07162007-160203/.

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41

Udikas, Axel. "Improvisation i duo : Om frihet och ramar i en jazzduo." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2890.

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Abstract (sommario):

Målet med detta arbete är att undersöka hur man kan spela jazz i duo med saxofon och piano. Undersökningen är baserad på en månad med repetitioner och en studioinspelning. Undersökningen är inspirerad av deltagande observation och introspektion. Ett av undersökningens resultat är att det i en jazzduo kan det vara fördelaktigt att i improvisationenistället för att använda ackordföljden som "karta" använda sig av kompositionens melodi. Olika sätt att bryta instrumentens enligt konventionen inom jazz givna roller i improvisationen diskuteras också.

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42

Liljedahl, Hannes. "Ett målande uttryck : En studie i expressionistisk bildkonsts påverkan på samspel och uttryck i musikalisk improvisation." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86672.

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43

Holmbom, Erik. "Think outside of the box(es)! : En studie kring en okonventionell metod för improvisation på elgitarr." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74128.

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Abstract (sommario):

Detta arbete handlar om min resa mot en friare improvisation genom att bryta ner gitarrhalsen i mindre beståndsdelar och lokalisera grundtoner och visualisera intervall utifrån dem med hjälp av den metod som jag kallar för den”intervalliska metoden”. Det ville jag göra för att frångå de mönster och boxar som jag vanligtvis använder mig av, vilket är en metod som kallas för ”caged-metoden”. I arbetet beskrivs det hur jag steg för steg jobbar med olika moment, övningar, analyser och hur jag tar mig an utmaningar för främjandet av min utveckling. Under processens gång presenterar jag vitala element som var tvungna att falla på plats för att jag skulle nå ett lyckat resultat. Jag demonstrerar arbetet till stor del med hjälp av visuella medel, så som notbilder och filmer för att stödja min forskning. Arbetet resulterade i en bättre förståelse för harmonik, ökad säkerhet och kontroll i att konstruera melodier och rent generellt ett starkare improvisatoriskt fundament.

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Tse, Tai-shun, and 謝大順. "A portfolio of three compositions : improvisation as a structural device." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195957.

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As a means of musical elaboration, improvisation takes an important role in different musical genres. From impromptus and rhapsody, to traditional music such as Javanese gamelan and Cantonese opera, improvisation shapes the distinctive features of musical works, and how composition takes on the features of improvisation. Despite the distinctive modes of improvisation in accordance with specific musical conventions, such improvisation share a common ground that it does not arise from nothing but comprises something memorized or given. Improvisation can be regarded as a spontaneous creativity within constraints and convention. Composers, therefore, can explore the performance techniques of different musical instruments and the creative possibilities within certain musical conventions through the use of improvisation from time to time. In this thesis, I seek to explore how improvisation as being operated within constraints and convention through a portfolio of three compositions. Each composition features one or two particular instruments in the improvisatory passage, i.e., sheng (Opera From a Forgotten Land), piano and flute (Improvisation Study no. 1) and electronic bass guitar (Improvisation Study no. 2). Considering the differences in the adhered musical culture and performance practice of these instruments, I shall explain the rationales behind my composition strategy.<br>published_or_final_version<br>Music<br>Master<br>Master of Philosophy

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45

Boqvist, Conrad. "MPA i improvisation : En kvalitativ studie om Music Performance Anxiety kopplat till improvisation och improvisationsundervisning inom ensemblespel i jazz och populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3887.

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Ämnet för studien var improvisation och improvisationsundervisning i relation till begreppet Music Performance Anxiety (MPA) samt tänkbara kopplingar däremellan. MPA beskrivs enklast som ångestkänslor i samband med musikutövande. Syftet med studien var att utforska Music Performance Anxiety utifrån en jazzmusikers perspektiv. Är det möjligt att känna prestationsångest i en kontext där det egentligen inte går att ”spela fel”? Jämförelser med konstmusiken blir därför relevant. Ett vidare syfte var att finna verktyg för att kunna uppmärksamma och hjälpa elever med MPA inom ensembleundervisning med fokus på improvisation. Vilka metoder och material använder pedagogerna? I studien valdes en kvalitativ metod, baserat på forskningsintervjuer med tre olika musiker och pedagoger inom improvisation. Det kompletterades genom att utforska befintlig litteratur inom improvisation och MPA. Studiens resultat påvisar att samtliga informanter hade stora erfarenheter och personliga upplevelser av både improvisation och MPA samt kopplingar däremellan och att MPA är ett förekommande fenomen inte bara inom konstmusik utan även bland jazzmusiker. Resultaten påvisar även att MPA framställs som något mindre vanligt bland jazzmusiker än hos klassiska musiker. Det finns inom jazzkulturen en reservation mot att visa tecken på svagheter som nervositet och prestationsångest. Förhoppningvis kan studien bidra till att lyfta ämnet MPA inom jazz och populärmusik, då det tidigare inte varit så beforskat inom dessa genrer. En vidare aspiration är att uppmärksamma musikpedagoger på hur de kan hjälpa elever som upplever svårigheter i improvisationsundervisning.<br>The subject of the study was improvisation and improvisational teaching in relation to the concept of Music Performance Anxiety (MPA) and possible connections between them. MPA is most easily described as feelings of anxiety in connection with playing music. The purpose of the study was to explore Music Performance Anxiety from a jazz musician's perspective. Is it possible to feel performance anxiety in a context where it is not really possible to "play wrong"? Comparisons with classical music therefore become relevant. A further purpose was to find tools to be able to draw attention to and help students with MPA in ensemble teaching with a focus on improvisation. What methods and materials do the educators use? In the study, a qualitative method was chosen, based on research interviews with three different musicians and educators in improvisation. It was supplemented by exploring existing literature in improvisation and MPA. The results of the study show that all informants had great experiences and personal experiences of both improvisation and MPA as well as connections between them and that MPA is a common phenomenon not only in art music but also among jazz musicians. The results also show that MPA is presented as somewhat less common among jazz musicians than among classical musicians. There is a reservation in jazz culture against showing signs of weaknesses such as nervousness and performance anxiety. Hopefully, the study can help to raise the topic of MPA in jazz and popular music, as it has not previously been so researched in these genres. A further aspiration is to draw the attention of music educators to how they can help students who experience difficulties in improvisational teaching.

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Rogers, Glenn Andrew. "The application of Konokol to guitar improvisation and composition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1956.

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This dissertation is an exploration of the rhythmic concepts used in two South Indian musical theory concepts, solkattu and konokol. Konokol application largely depends on instrument limitations and musical contexts. The principle focus here is on my personal application of konokol to the guitar both through composed and improvised music. A detailed study of konokol was undertaken through private lessons in India and personal experimentation to determine how these concepts could be adapted to Western improvisation, harmony and composition, as well as right--‐hand classical guitar and plectrum techniques. This was done intuitively by exploring guitar techniques and konokol simultaneously. The outcome of this study was a process applied to guitar composition and improvisation. Graphic numerical tables and geometrical representations are outlined in this dissertation as a guide to understanding this process. The second outcome of this research includes a series of Western compositions improvised and through--‐composed. This outcome explores a fundamental concept, the practical applications of konokol and mrdangam patterns to guitar composition and guitar improvisation. The appendices include a practical reference guide to many of these concepts, providing a valuable and a beneficial resource for any musician who would like to use and understand rhythmic concepts outside the Western musical tradition. A compact disc of my original compositions demonstrating my application of konokol concepts and theories to guitar composition is also included as part of this research. This dissertation presents an alternative framework and methodology to the Western canon of rhythmic knowledge and involves rethinking numbers, rhythm and phrasing in a manner that is essentially different to the Western pedagogy of rhythmic knowledge. Possible future research on the collective memory and fractal design of konokol and how this is related to memory is also proposed.

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Oehlers, Jamie. "Night music (compositions, performance and improvisations) –and– Developing a chromatic-intervallic approach to jazz improvisation through reflexive practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2189.

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This research examines the processes involved in developing and applying a novel melodic jazz improvisation technique—a chromatic-intervallic approach (CIA). Improvised melodic approaches in jazz music from the 1920s until today have primarily been driven through the development of tension within melody lines by using variations of the scale/chord method and harmonic substitution. The CIA examined through my saxophone and improvisatory practice in this research explores the incorporation of melodies derived from intervallic combinations, and assesses the resulting tension within the melody through the use of the Melodic Tension Rating tool; a tool created through the research period of this study. The practice-led research (PLR) methodology developed for this research engaged a semi-cyclic research design that allowed the reflexive moment of improvisation to be analysed and reflected upon. This in turn created insights into the processes used to internalise the concept and allowed further development of the concept throughout the study. Chromatic-intervallic patterns were composed by combining melodic intervals and attaching them to varying interval cycles. This process allowed systematic exploration of this chromatic device and analysis of how it affected the levels of consonance and dissonance in the melodies. These patterns were then used as referents for further improvisations, allowing for less predictable application of the CIA and a practical understanding of the tension levels being created. The CIA was applied to numerous settings, including non-harmonic forms, single-note pedal points, individual chords, common harmonic forms and original compositions. The insights gained through this reflexive process yielded new potentialities for melodic construction in both jazz improvisation and composition, with devices such as ‘tension masking’ and ‘tension propulsion’ being developed within the process phases. The PLR methodology directed the research towards its major creative outcomes: eight original compositions and a live studio recording. In the final chapter of the exegesis, these outcomes are analysed with reference to the research process, allowing for further reflection on practice and, more generally, on creative process within the arts.

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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.

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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.

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Müller, Hermann-Christoph. "Zur Theorie und Praxis indeterminierter Musik Aufführungspraxis zwischen Experiment und Improvisation /." Kassel : G. Bosse, 1994. http://books.google.com/books?id=ZzxFAAAAMAAJ.

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50

Flora, Sim A. "An analytical anthology of improvised solos designed to supplement the formal teaching of jazz improvisation and jazz theory at the university level /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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