Artigos de revistas sobre o tema "Improvisation (Music)"
Siga este link para ver outros tipos de publicações sobre o tema: Improvisation (Music).
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Improvisation (Music)".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
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.
Resumo:
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.
2
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.
Resumo:
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.
3
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.
Resumo:
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.
4
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.
Resumo:
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.
5
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.
Resumo:
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.
6
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.
Resumo:
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.
7
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.
Resumo:
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.
8
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.
Resumo:
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.
9
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.
Resumo:
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.
10
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.
Resumo:
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.
11
Lipsky, M., e J. Kantor. "Identification of Challenges and Strengths of Children with Special Educational Needs in Their Musical Improvisations". Клиническая и специальная психология 8, n.º 1 (2019): 118–36. http://dx.doi.org/10.17759/cpse.2019080108.
Resumo:
The study of therapeutic uses of musical improvisation can help to improve music therapy assessment which is the aim of this paper. This paper identifies 1. the individual challenges and strengths that may help to deal with problems reflected in musical improvisations of children with special needs and, 2. ways of their identification while listening to the children’s musical expression. Data collected from 180 verbal descriptions of musical improvisations of four children with special needs and then analysed using grounded theory as well as content analysis of documents. It was found that music reflects children’s problems (with mainly bio-behavioural character) as well as their strengths that may be helpful in coping with those problems. Some theoretical guidelines for analysis of musical improvisation and the planning of music therapy intervention were suggested based on these findings.
12
Sutton, Julie. "The invisible handshake: A context for improvisation in music therapy". British Journal of Music Therapy 32, n.º 2 (9 de outubro de 2018): 86–95. http://dx.doi.org/10.1177/1359457518799076.
Resumo:
Improvisation is a fundamental aspect of music therapy practice but until recently was much neglected by researchers. This article outlines hitherto unpublished findings from doctorate research completed in 2001, at a time when few investigations were being undertaken. The findings stand the test of time and are detailed in the article as well as updated within the current literature context. The strength of the research is in consideration of underlying temporal, relational aspects of improvisation, which show how improvisations in music and in everyday conversation have both similarities and differences at deeper, structural levels. This research is of interest to current researchers, improvisers and Music Therapists.
13
Rivkin, Aaron. "Group Improvisation in Secondary School Instrumental Ensembles". Music Educators Journal 109, n.º 1 (setembro de 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.
Resumo:
Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
14
Norgaard, Martin, Samantha N. Emerson, Kimberly Dawn e James D. Fidlon. "Creating Under Pressure". Music Perception 33, n.º 5 (1 de junho de 2016): 561–70. http://dx.doi.org/10.1525/mp.2016.33.5.561.
Resumo:
A growing body of research suggests that jazz musicians concatenate stored auditory and motor patterns during improvisation. We hypothesized that this mechanism allows musicians to focus attention more flexibly during improvisation; for example, on interaction with other ensemble members. We tested this idea by analyzing the frequency of repeated melodic patterns in improvisations by artist-level pianists forced to attend to a secondary unrelated counting task. Indeed, we found that compared to their own improvisations performed in a baseline control condition, participants used significantly more repeated patterns when their attention was focused on the secondary task. This main effect was independent of whether participants played in a familiar or unfamiliar key and held true using various measurements for pattern use.
15
Johnson-Laird, P. N. "How Jazz Musicians Improvise". Music Perception 19, n.º 3 (2002): 415–42. http://dx.doi.org/10.1525/mp.2002.19.3.415.
Resumo:
This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.
16
Ustinskovs, Jevgeņijs. "Kinds of Improvisation Activity in Music Secondary Schools". SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (9 de maio de 2015): 163. http://dx.doi.org/10.17770/sie2012vol1.32.
Resumo:
<p>Pedagogical experience and findings of different scholars testify to the fact that mastering improvisation can be based on essentially different didactic approaches. Therefore, at developing the didactic model of mastering improvisation in music secondary school, a necessity arises to study kinds of improvisation activity and define the more important kinds of improvisation activities for mastering improvisation in music secondary schools. The research method: analysis of literature, analysis of the author’s pedagogical experience.<br />We consider that for mastering improvisation at music school, it is essential to use such kinds of improvisation activities as: rhythmic and rhythmic-melodic improvisation; imagery improvisation; total and partial improvisation; continuous and episodic improvisation; solo and collective improvisation; musical improvisation on various instruments; improvisation in other arts; technology-based improvisation activities.</p>
17
Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom". General Music Today 33, n.º 1 (25 de abril de 2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.
Resumo:
Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a listening walk, introducing students to invented notation, scaffolding exploratory learning experiences in the classroom, and provides resources for extending these lessons into composition and improvisation instruction. Embedding exploration into the music classroom empowers students to develop the mental flexibility, disposition, and skills needed for improvising and composing.
18
Hall, Matthew J. "Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)". Early Music 48, n.º 2 (maio de 2020): 177–92. http://dx.doi.org/10.1093/em/caaa026.
Resumo:
Abstract Unfigured basslines serve as the starting points for collective improvisation in several sections of Agostino Agazzari’s Eumelio (1606). Agazzari makes clear that musicians used such basslines for effective ensemble improvisations in his well-known treatise Del sonare sopra’l basso con tutti li stromenti (1607) and in other contemporaneous documents. Gloria Rose has identified isolated examples of written ‘tablatures of the bass’, or contrapuntal templates from which ensembles improvised. However, analysis of the harmonic and modal parameters of the vocal monody in Eumelio shows how constrained the possibilities for improvisation actually were, indicating that the training of musicians c.1600 prepared them to improvise collectively from a bassline, even without such written tablatures. Some aspects of historical musicianship could lead to successful and enjoyable collective improvisation today, suggesting ways to bridge the gap between the contrapuntal training of modern and past musicians.
19
Guilbault, Denise Marie. "The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade". Journal of Research in Music Education 57, n.º 2 (18 de junho de 2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.
Resumo:
The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment received significantly higher tonal improvisation rating scores than those students who did not have such instruction. No statistical difference was found for the main effect of grade level.
20
Givan, Benjamin. "Gunther Schuller and the Challenge of Sonny Rollins:". Journal of the American Musicological Society 67, n.º 1 (2014): 167–237. http://dx.doi.org/10.1525/jams.2014.67.1.167.
Resumo:
Scholarly opinion has for many years been divided over Gunther Schuller's landmark 1958 article, “Sonny Rollins and the Challenge of Thematic Improvisation.” Jazz theorists view the article's close analysis of Rollins's 1956 jazz saxophone improvisation “Blue 7” as one of their discipline's founding statements; historians and ethnomusicologists meanwhile tend to fault it for neglecting cultural context. In either instance the specific details of Schuller's analysis have been largely accepted as being internally consistent. The present study proposes that the analysis of jazz improvisation ought to engage more extensively with broader stylistic issues in addition to the specifics of isolated individual performances. Such a musically contextualized perspective reveals that Schuller's principal argument—that, in this particular improvisation, Rollins developed motivic elements of a composed theme—is false. “Blue 7” was in fact improvised in its entirety, and the melodic pattern that Schuller cited as a thematic motive was one of Rollins's habitual improvisational formulas, heard on many of the saxophonist's other 1950s recordings. This canonic recording, as well as the notion of Rollins as a “thematic” improviser, therefore needs to be reconsidered.
21
Wilson, Dave. "A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT". Leonardo Music Journal 30 (dezembro de 2020): 79–83. http://dx.doi.org/10.1162/lmj_a_01095.
Resumo:
The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dialogical improvisative music-making that emerges from multiethnic and multicultural histories of improvised music.
22
Ng, Hoon Hong. "Collective Free Music Improvisation as a Sociocommunicative Endeavor: A Literature Review". Update: Applications of Research in Music Education 37, n.º 2 (22 de junho de 2018): 15–23. http://dx.doi.org/10.1177/8755123318784109.
Resumo:
This article is a review of literature that conceptualizes the practice of collective free music improvisation as a sociocommunicative endeavor, with its appended value and implications to musicians and music learners. Researchers have revealed that this conceptualization breaks down cultural and stylistic music boundaries to establish understanding and empathy among diverse and unique performers—through live music interactions and communication on an egalitarian and evolving platform that is negotiated by all participants. To enable collective free music improvisation pedagogically, researchers have highlighted the importance and ways of approaching it as a form of social interactionism, developing a personal music language to converse fluently and meaningfully, and establishing shared understanding among fellow improvisers as the foundation for music interaction. Together, these pedagogical implications may be synergized to inform ways in which classroom free improvisational practices may nurture expressive and confident improvisers rooted in the reality of the moment, as well as in the music conversations with one’s self and others.
23
Ng, Hoon Hong. "The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives". Journal of Music Teacher Education 30, n.º 3 (junho de 2021): 40–53. http://dx.doi.org/10.1177/10570837211018287.
Resumo:
I conducted a case study to explore preservice music teachers’ behaviors, thoughts, and feelings when engaged in collective free music improvisation. Nine preservice music teachers were taught how to freely improvise within groups as part of a teacher education course and participated in interviews and focus group discussions. Major themes highlighted learning across three segments that emphasized communication and collaborative skills, entrepreneurial skills and risk taking, and reconciliation and transformation. I concluded that the sociomusical outcomes produced by collective free improvisation may complement those of more formal and idiomatic improvisation practices, and that by introducing preservice music teachers to free improvisation activities, they may be more willing to engage PK–12 students in free improvisation lessons that enhance the existing school music curriculum.
24
Larsson, Christina, e Eva Georgii-Hemming. "Improvisation in general music education – a literature review". British Journal of Music Education 36, n.º 1 (22 de junho de 2018): 49–67. http://dx.doi.org/10.1017/s026505171800013x.
Resumo:
The overall purpose of this article is to provide a convenient summary of empirical research on improvisation in general music education and thereby provide guidance to researchers and practitioners, using a systematic, narrative-review approach. By analysing 20 music education research articles, published from 2000–2015 in peer-reviewed journals, we firstly provide an overview of the key features and knowledge of existing research. Secondly we identify how improvisation has been characterized, conceptually before, thirdly, describing the implications of the literature for improvisation in practice. Our article reveals that improvisation tends to be an overlooked activity both in music education contexts and in music education research. Broadly speaking, music education research tends to characterise improvisation within two conceptual frameworks, which have different implications for implementation; ‘structured’, teacher-directed improvisation and ‘free’, child-directed improvisation. We conclude by arguing that music educational research on improvisation is an underdeveloped field and outline a number of questions to be addressed in future research.
25
Feige, Daniel Martin. "Jazz als künstlerische Musik". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, n.º 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.
Resumo:
Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
26
Kim, Sung-Ki. "Music Improvisation in Morphological Music Therapy". Journal of Humanities 41 (30 de junho de 2016): 131–55. http://dx.doi.org/10.21582/tjh.2016.06.41.131.
27
Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians". Journal of Research in Music Education 59, n.º 2 (9 de junho de 2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.
Resumo:
Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.
28
Canonne, Clément. "Listening to Improvisation". Empirical Musicology Review 13, n.º 1-2 (17 de janeiro de 2019): 2. http://dx.doi.org/10.18061/emr.v13i1-2.6118.
Resumo:
Is there something peculiar in our appreciation of improvised music? How does knowing that the music we are listening to is improvised affect our experience? As a first step in answering these questions, I have conducted an experiment in which an audio recording of the very same piece of music – a saxophone/clarinet freely improvised duet – was presented to 16 listeners, either as an improvisation ("IMPRO" condition), or as the live performance of a composition for saxophone and clarinet ("COMPO" condition). Listeners were encouraged both to reflect on their listening experience and to describe in their own words the music they heard. First, evaluative judgments were strongly different in the two listening conditions: listeners approached the piece with specific sets of values in mind, by relying on different features or different kinds of criteria (aesthetic ones in the COMPO condition vs ethical ones in the IMPRO condition) to ground their appreciative judgments. Second, and maybe more importantly, listening experiences were quite different in the two conditions: in the COMPO condition, the piece was more commonly experienced as a sonic product, with listeners paying great attention to the various acoustical effects achieved by the musicians and to the overall structure (or lack thereof); in the IMPRO condition, the music was often described as a kind of communicational or relational process, with descriptions that largely interweaved music-specific terms and more broadly social terms. Overall, this experiment shows that our listening experience can be dramatically affected by modal considerations, i.e., by how we think the music was produced. More specifically, it sheds some light on what constitutes the core of the aesthetic experience of improvisation by exhibiting what is centrally at play (and what is not) when we listen to collectively improvised music.
29
Biasutti, Michele, e Luigi Frezza. "Dimensions of Music Improvisation". Creativity Research Journal 21, n.º 2-3 (7 de maio de 2009): 232–42. http://dx.doi.org/10.1080/10400410902861240.
30
Prévost, Eddie. "Improvisation: Music for an Occasion". British Journal of Music Education 2, n.º 2 (julho de 1985): 177–86. http://dx.doi.org/10.1017/s0265051700004794.
Resumo:
The case is put for improvisation as the basis for world music, with special reference to flexibility of the blues and the gamelan. An overview of the impact of society on music leads to a general survey of the status of improvisation in pre-industrial Western European culture. Improvisation is contrasted with composition and consideration is given to the problems of providing education in improvisation without destroying its vitality and communicative power.
31
Hermelin, B., N. O'Connor, S. Lee e D. Treffert. "Intelligence and musical improvisation". Psychological Medicine 19, n.º 2 (maio de 1989): 447–57. http://dx.doi.org/10.1017/s0033291700012484.
Resumo:
SynopsisWe investigated whether somebody with a severe mental impairment could not only remember and reproduce music, but was also able to generate it. Musical improvisation requires the ability to recognize constraints and also demands inventiveness.Musical improvisations on a traditional, tonal and also on a whole tone scale composition were produced by a mentally handicapped and by a normal control musician. It was found that not only the control but also the handicapped subject could improvise appropriately within structural constraints, although with the tonal music the idiot-savant showed some stylistic latitude. It is concluded that cognitive processes such as musical input analysis, decision making, and output monitoring are independent of general intellectual status.
32
Daikoku, Tatsuya. "Statistical Properties in Jazz Improvisation Underline Individuality of Musical Representation". NeuroSci 1, n.º 1 (21 de setembro de 2020): 24–43. http://dx.doi.org/10.3390/neurosci1010004.
Resumo:
Statistical learning is an innate function in the brain and considered to be essential for producing and comprehending structured information such as music. Within the framework of statistical learning the brain has an ability to calculate the transitional probabilities of sequences such as speech and music, and to predict a future state using learned statistics. This paper computationally examines whether and how statistical learning and knowledge partially contributes to musical representation in jazz improvisation. The results represent the time-course variations in a musician’s statistical knowledge. Furthermore, the findings show that improvisational musical representation might be susceptible to higher- but not lower-order statistical knowledge (i.e., knowledge of higher-order transitional probability). The evidence also demonstrates the individuality of improvisation for each improviser, which in part depends on statistical knowledge. Thus, this study suggests that statistical properties in jazz improvisation underline individuality of musical representation.
33
HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2". Organised Sound 10, n.º 3 (29 de novembro de 2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.
Resumo:
Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.
34
Rowan, Brent D. "Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit". LEARNing Landscapes 10, n.º 2 (7 de julho de 2017): 257–69. http://dx.doi.org/10.36510/learnland.v10i2.814.
Resumo:
This paper examines the impact of creating music in an improvisational jazz style on an amateur adult musician’s mind, body, and spirit. Learning jazz improvisation skills can help build more empathetic human beings, when the focus of improvisation is on reacting to what you hear in a clear and concise manner. Life skills are developed by focusing on deep listening and communicating with other musicians. Enabling a person to talk to, listen to, and understand those around them builds community and understanding, and lessens the likelihood of conflict. This allows growth and progress to take place in society, making the cultural capital built from a jazz improvisation program invaluable.
35
Siljamäki, Eeva, e Panagiotis A. Kanellopoulos. "Mapping visions of improvisation pedagogy in music education research". Research Studies in Music Education 42, n.º 1 (9 de julho de 2019): 113–39. http://dx.doi.org/10.1177/1321103x19843003.
Resumo:
This systematic literature review aims to identify and critically examine the prevailing general trends of music education research that addresses issues of improvisation from 1985 to 2015. The study examined the main features of studies with impact that focus on musical improvisation and have been published in peer-reviewed music education journals. Data were organised on the basis of the following: 1) General publication features; 2) Topic; 3) Methodological approach; 4) Participant features; 5) Type of improvisation; 6) Definition of improvisation; 7) Findings; 8) Suggestions for practice. The study also takes a close look at the construction of the discourses through which improvisation has been framed in the field of music education, providing insights on how such discourses create particular pedagogical visions of improvisation. To this end, we have created a map of the different visions of improvisation pedagogy that the studied works point towards. These visions have been clustered in the following five categories: (i) from rupture of certainties to creative problematisation; (ii) return to the “natural” beginning—in search of humanness; (iii) improvisation as a learning tool; (iv) conserving and enlivening traditions; (v) improvisation as an impetus for creativity. The map proposed in this study is meant as a possible representation of the general trends that underpin music education research focusing on improvisation. This map can also be seen as a “tool” through which music educators can situate their practice and reflect on their particular ways of working with improvisation, possibly envisioning alternative ways forward.
36
Stetsiuk, B. O. "Types of musical improvisation: a classification discourse". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, n.º 57 (10 de março de 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
Resumo:
This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
37
Korošec, Kaja, Blaženka Bačilija Susić e Katarina Habe. "Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre". Revija za elementarno izobraževanje 15, n.º 3 (setembro de 2022): 339–56. http://dx.doi.org/10.18690/rei.15.3.339-356.2022.
Resumo:
The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students who only played classical music with those who played other genres, as well. Regression analysis showed that we can explain 71% of the variance in flow with attitudes toward improvisation.
38
Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm". Aspects of Historical Musicology 15, n.º 15 (15 de setembro de 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
Resumo:
Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
39
Schroeder, Franziska, e Iain Campbell. "Improvisation/Indeterminacy". Contemporary Music Review 40, n.º 4 (4 de julho de 2021): 359–65. http://dx.doi.org/10.1080/07494467.2021.2001934.
40
Solomon, Larry. "Improvisation II". Perspectives of New Music 24, n.º 2 (1986): 224. http://dx.doi.org/10.2307/833221.
41
Oliver, Mary. "On improvisation". Contemporary Music Review 25, n.º 5-6 (outubro de 2006): 457–59. http://dx.doi.org/10.1080/07494460600989937.
42
Rzewski, Frederic. "On improvisation". Contemporary Music Review 25, n.º 5-6 (outubro de 2006): 491–95. http://dx.doi.org/10.1080/07494460600990018.
43
Zavalloni, Cristina. "On improvisation". Contemporary Music Review 25, n.º 5-6 (outubro de 2006): 539–40. http://dx.doi.org/10.1080/07494460600990638.
44
Chiu, Tom. "On improvisation". Contemporary Music Review 25, n.º 5-6 (outubro de 2006): 621–22. http://dx.doi.org/10.1080/07494460600990893.
45
Kato, Hideki. "On improvisation". Contemporary Music Review 25, n.º 5-6 (outubro de 2006): 629–30. http://dx.doi.org/10.1080/07494460600990935.
46
Faraco, Arthur. "Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material". Opus 27, n.º 2 (1 de maio de 2021): 1–27. http://dx.doi.org/10.20504/opus2021b2712.
Resumo:
In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer’s improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne’s (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information’s influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.
47
Grigson, Lionel. "Harmony + Improvisation = Jazz". British Journal of Music Education 2, n.º 2 (julho de 1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.
Resumo:
In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classical students often seem to lack a precise concept of underlying harmonic form, the author concludes that more needs to be done with harmony at an earlier stage in music education, and that jazz may be the best context in which for this to happen.
48
Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation". Leonardo Music Journal 11 (dezembro de 2001): 29–34. http://dx.doi.org/10.1162/09611210152780647.
Resumo:
The author defines free improvisation, a form of music-making that first emerged in the 1960s with U.K. composers and groups such as Cardew, Bailey, AMM and the Spontaneous Music Ensemble. The approach here considers free improvisation as creative activity, encompassing its artistic agenda on the one hand and the process-based dynamic of its production on the other. After considering the historical location of free improvisation within Western music history, the article explores free improvisation as analogous with Abstract Expressionist art. This comparison enables a fuller understanding of the activity's conceptual basis and the creative process it engenders.
49
Diaz Abrahan, Veronika M., Favio Shifres e Nadia R. Justel. "Music improvisation modulates emotional memory". Psychology of Music 48, n.º 4 (9 de novembro de 2018): 465–79. http://dx.doi.org/10.1177/0305735618810793.
Resumo:
Music improvisation is a technique frequently used in the music therapy field. Its application involves emotional support, cognitive evaluation or cognitive/motor rehabilitation. However, its effect as a valid treatment to moderate memory has not been studied. The aim of the present study is to investigate the effect of music improvisation on emotional memory, in adults with or without musical training. Participants watched emotional or neutral images, and rated simultaneously how emotional they felt the images were, from 0 to 10 ( nothing to highly arousing). Later, participants were exposed to a treatment (music improvisation, imitation, or silence). Immediately afterwards, recall and recognition were evaluated. After a week, free recall and recognition were tested again. The main findings of this study were that music improvisation improves free recall and recognition of neutral and emotional images. The results also indicated that musicians showed better emotional memory performance than non-musicians.
50
Addison, Richard. "A New Look at Musical Improvisation in Education". British Journal of Music Education 5, n.º 3 (novembro de 1988): 255–67. http://dx.doi.org/10.1017/s0265051700006665.
Resumo:
After a brief summary of the development of ‘Creative Music’ in schools in the U.K., the author suggests that the emphasis on Improvisation, advocated by Orff and others, has been lost in favour of the Composition/Product model.An attempt to define ‘Improvisation’ leads to various considerations of its value and purpose in various educational settings, and in Music Therapy. Links with ‘play’ in young children, and with practices in Movement/Dance education are drawn.Practical examples are suggested, and a ‘spectrum’of degrees of ‘improvisation’ opportunity are suggested. Participants perceptions of improvisation and composition are described, and finally the case for improvisation as an essential part of any music curriculum is made.