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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 v

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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-ti

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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 myc

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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

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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

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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 t

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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 f

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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,

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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 r

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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

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25

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

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26

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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28

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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29

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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Abstract (sommario):

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

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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 le

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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 A

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33

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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34

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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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 t

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35

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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36

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 longwinde

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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.

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38

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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39

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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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

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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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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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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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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

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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 wi

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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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Abstract (sommario):

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 me

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46

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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Abstract (sommario):

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

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47

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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Abstract (sommario):

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 thr

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48

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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Abstract (sommario):

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 r

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49

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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