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Artigos de revistas sobre o assunto "Improvisation (Music)":
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Gruenhagen, Lisa M., e Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms". Journal of Research in Music Education 61, n.º 4 (25 de novembro de 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Reardon-Smith, Hannah, Louise Denson e Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION". Tempo 74, n.º 292 (6 de março de 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study". Journal of Research in Music Education 56, n.º 1 (abril de 2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.
In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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Cobussen, Marcel. "Improvising (with) sounds: A sonic postcard from Belgrade". New Sound, n.º 50-2 (2017): 269–84. http://dx.doi.org/10.5937/newso1750269c.
This impressionistic essay is indeed an attempt to record the thoughts I developed on improvisation while visiting different places in Belgrade, meeting various musicians who are living in this city, and reflecting on a few texts dealing with musical improvisation. In seven short meditations, seven "stops", I criticize the anthropocentric discourse around improvisation, formulate ideas about improvisation that try to overcome dichotomous constructions, and trace improvisational structures in sound art, rock music, contemporary composed music, and everyday listening.
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Gillon, Les. "Varieties of Freedom in Music Improvisation". Open Cultural Studies 2, n.º 1 (1 de dezembro de 2018): 781–89. http://dx.doi.org/10.1515/culture-2018-0070.
Abstract This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising musician.
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Lee, Colin Andrew, e Amy Clements-Cortés. "Applications of Clinical Improvisation and Aesthetic Music Therapy in Medical Settings: An Analysis of Debussy’s ‘L’isle joyeuse’". Music and Medicine 6, n.º 2 (25 de outubro de 2014): 61. http://dx.doi.org/10.47513/mmd.v6i2.181.
The application and use of clinical improvisation is an important technique in medical music therapy. Through the analysis of Debussy’s ‘L’isle joyeuse’ this study aims to provide the beginnings of a new way of working within a music-centered philosophy for music therapists in medical settings. The piece is divided into eight sub-sections, offering practical suggestions for how the music can be adapted and used for specific clinical outcomes. Each analysis may be used separately to create smaller improvisations or collectively in varying combinations, to create larger improvisations. Throughout the study connections are made between musical process and clinical outcome. Due to the transparent and ever-changing environment of patient’s experiences in hospital settings, the potential for the free-flowing form of improvisation is emphasized as an important clinical technique. This paper offers a contemporary and musically scientific view of clinical improvisation in medical settings.
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Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance". Journal of Research in Music Education 57, n.º 3 (30 de setembro de 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.
The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
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Delia-Pietra, Christopher J., e Patricia Shehan Campbell. "An Ethnography of Improvisation Training in a Music Methods Course". Journal of Research in Music Education 43, n.º 2 (julho de 1995): 112–26. http://dx.doi.org/10.2307/3345673.
In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on listening and analyzing model pieces and consequent small-group improvisations “in the style of the model.” Data were analyzed using ethnographic techniques. The profiles of two students were developed to trace emerging thoughts and behaviors regarding improvisation training. Although the profiled students differed as to prior experiences and personal perspectives on music-making and teaching, both showed evidence of an evolving sensitivity to the process of improvisation due to instruction—for themselves and for their students.
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Revzis, Inessa M. "About the Development of Improvisational Skills in the Pupils of Children’s Music Schools". ICONI, n.º 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.
A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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Kim, Sujin, e Yoonhan Jeon. "A Study on Improvisation Techniques Appearing in Keith Jarrett 《Koln Concert January 24, 1975, Pt. A》". Korean Society of Culture and Convergence 44, n.º 6 (30 de junho de 2022): 1079–106. http://dx.doi.org/10.33645/cnc.2022.6.44.6.1079.
This paper focuses on the characteristics of improvisation among the various musical expression techniques of Keith Jarrett. The field of improvisation, which originated from the European classical tradition, is one of the ever-developing techniques in music history. Used as a tool to show the performer’s technical excellence by the musical styles of many eras, improvisation has been independent of musical structure since the 1960s, and has everything from creation to rhythm to form. It was a new concept that the performer’s will was reflected as it was. This is the 1960s free jazz and 1970s fusion jazz era. This paper focuses on the improvisational form of fusion jazz, and while the style of one’s own is firmly established through the flow of this era, the live performance of artist Keith Jarrett who expresses the improvisational performance of infinite possibilities. I mainly researched Part. II A in the concert album “Koln Concert”. As a result, improvisation is part of the art that goes out of the unconscious, but by no means easy to define. It can be said that it is a noble product of continuous training by researching and repeat over and over again music techniques that human beings have made or can make for each era, involving music from the time it was born to modern music. Through this paper, I emphasize that expressing the overall things that the performer has, such as values, emotions, and philosophies, as well as the latent musicality, is the most important part of improvisation.
Pavlicevic, Mercedes. "Music in communication : improvisation in music therapy". Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/20099.
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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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.
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.
Stycke: Constant Curve
Kompositör: William Lindvall
Musiker:
Trummor - Jonathan Leidecker
Trumpet/Flügelhorn - Joosua Sarikoski
Trumpet - Emma Granstam
Trombon - Elias Ukkonen Widding
Altsaxofon - Sebastian Jonsson
Tenorsaxofon - Björn Bäckström
Horn - Emil Engström
Basklarinett - Astrid le Clercq
Basklarinett - Daniel Gahrton
Kontraforte - Gabriella Vargas Karlsson
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Gifford, Toby. "Improvisation in interactive music systems". Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.
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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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.
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?
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.
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.
1930-, Nettl Bruno, e Russell Melinda, eds. In the course of performance: Studies in the world of musical improvisation. Chicago: University of Chicago Press, 1998.
Capítulos de livros sobre o assunto "Improvisation (Music)":
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Vuust, Peter, e Morten L. Kringelbach. "Music Improvisation". In The Routledge Companion to Music Cognition, 265–75. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-22.
Challis, Ben P. "Assistive Synchronised Music Improvisation". In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 49–56. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-37982-6_7.
Schroeder, Franziska. "Manyness in Music Improvisation". In The Routledge Handbook of Philosophy and Improvisation in the Arts, 228–42. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-19.
Encarnacao, John, Brendan Smyly e Monica Brooks. "Free improvisation". In Teaching and Evaluating Music Performance at University, 145–53. [1.] | New York : Routledge, 2020. | Series: ISME global perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-10.
Feldman, Evan, e Ari Contzius. "Teaching Improvisation and Composition". In Instrumental Music Education, 59–69. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-5.
Clauhs, Matthew, Bryan Powell e Ann C. Clements. "Songwriting, Improvisation, and Arranging". In Popular Music Pedagogies, 165–73. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-16.
Holdhus, Kari. "Pedagogical improvisation". In Expanding the Space for Improvisation Pedagogy in Music, 195–210. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351199957-13.
Palmer, Tim. "Exploring Improvisation". In A Practical Guide to Teaching Music in the Secondary School, 39–51. 2a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003092568-5.
Chakrabarty, Sudipta, Anushka Bhattacharya, Md Ruhul Islam e Hiren Kumar Deva Sarma. "Algorithmic Improvisation of Music Rhythm". In Advances in Communication, Devices and Networking, 223–35. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4932-8_25.
Marino, Stefano. "Improvisation in Pop-Rock Music". In The Routledge Handbook of Philosophy and Improvisation in the Arts, 431–45. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-34.
Trabalhos de conferências sobre o assunto "Improvisation (Music)":
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Tomayko-Peters, Arvid. "Improvisation with the TOOB". In ACM SIGGRAPH 2009: Music & Audio. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597983.1597987.
Corintha, Isabela, e Giordano Cabral. "The 4E‘s Model of Enactivism through Improvisation within DMIs". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19441.
This paper describes how a theoretical framework focused on the 4E‘s model which describe the mind as fundamentally: embodied, embedded, extended and enactive, within the paradigm of enactive music cognition can contribute to the design of Digital Music Instruments (DMIs). From an epistemological perspective, we discuss improvisation within the Western academic music culture through two examples of DMIs created to improvise in a MIDI keyboard. We argue the 4 E‘s model orientation revealing the fundamentally nature of the embodied musical mind. Ethical and practical possibilities for an enactive music cognition related to improvisation in the context of the skills and needs of 21st are suggested with the goal of helping DMIs designers and musicians to develop approaches based in possibility, imagination, and relationality, rather than in conformity to standardized practices and conventional music pedagogical purposes. Finally, we present some concrete cases of DMIs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories.
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Cabrera, Daniel Antonio Milán, e Yudi Sukmayadi. "An Introduction to Free Improvisation Music Through YouTube". In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.062.
Bačlija Sušić, Blaženka, Katarina Habe e Jasna Kudek Mirošević. "THE ROLE OF IMPROVISATION IN HIGHER MUSIC EDUCATION". In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1120.
Adu-Gilmore, Leila. "Critical Sonic Practice: Intersectional approaches to music technology, improvisation, theory and composition". In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/criticalsonicpractice.
Kaliakatsos-Papakostas, M. A., A. Floros e M. N. Vrahatis. "Intelligent Real-Time Music Accompaniment for Constraint-Free Improvisation". In 2012 IEEE 24th International Conference on Tools with Artificial Intelligence (ICTAI 2012). IEEE, 2012. http://dx.doi.org/10.1109/ictai.2012.67.
Michalec, Lukasz, e David A Banks. "Information Systems Development Methodologies and all that Jazz". In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.
This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.
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Grollmisch, Sascha, Christian Dittmar e Gabriel Gatzsche. "Concept, implementation and evaluation of an improvisation based music video game". In 2009 International IEEE Consumer Electronics Society's Games Innovations Conference (ICE-GIC 2009). IEEE, 2009. http://dx.doi.org/10.1109/icegic.2009.5293599.
"On the Application and Significance of Improvisation in Music Teaching Activities". In 2020 International Conference on Educational Training and Educational Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000955.
Ichinose, Shugo, Souta Mizuno, Shun Shiramatsu e Tetsuro Kitahara. "Improvisation Ensemble Support Systems for Music Beginners Based on Body Motion Tracking". In 2017 6th IIAI International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2017. http://dx.doi.org/10.1109/iiai-aai.2017.145.
Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
