The Pedagogical Imperative of Musical Improvisation

2007 ◽  
Vol 3 (2) ◽  
Author(s):  
Scott Thomson
Keyword(s):  
Collaborative Performance ◽  
Music Scene ◽  
Creative Music ◽  
Pedagogical Theory ◽  
Musical Improvisation

This essay responds to the twinned questions, "How do musicians learn to improvise?" and "What skills are they learning as they are doing so?" The pedagogical theory that is the outcome essentially redefines improvisation as the enactment of the skills (or attributes) that can only be learned in collaborative performance. From there, I consider relationships between the micrological, performance-based pedagogy of improvisation and the formation of scenes that coalesce within urban locales, using the burgeoning creative music scene in Toronto as an example.

scholarly journals FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS

2020 ◽  
Vol 5 ◽  
pp. 817
Author(s):  
Galina Zavadska ◽  
Asta Rauduvaite
Keyword(s):  
Research Methods ◽  
Music Making ◽  
Initial Stage ◽  
Creative Music ◽  
Creative Abilities ◽  
Musical Improvisation ◽  
Creative Music Making ◽  
Creative Tasks

A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the process of composition it is possible to stop, to think everything over, to correct something and change it. Improvising and composing at sol-fa lessons are classified as kinds of creative music making. This paper is concerned with the analysis of the types of creative tasks at group classes on sol-fa, as well as with the comparison of different approaches to and methods of the formation and development of creative skills in improvisation and composition in the initial stage. Research aim: to determine and characterize the specific features of using improvisation and composition at sol-fa lessons in the initial stage. Research methods: the analysis of pedagogical experience, the comparison of contemporary methodologies for teaching improvisation and composition.

A New Look at Musical Improvisation in Education

1988 ◽  
Vol 5 (3) ◽  
pp. 255-267 ◽  
Author(s):  
Richard Addison
Keyword(s):  
Young Children ◽  
Music Therapy ◽  
Dance Education ◽  
Music Curriculum ◽  
Educational Settings ◽  
Product Model ◽  
Creative Music ◽  
Musical Improvisation ◽  
Composition Product ◽  
New Look

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.

SOUTH·SEA·ISLAND MAGIC Bill Sevesi and the Auckland Music Scene

Perfect Beat ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 19-46
Author(s):  
SAM SAMPSON
Keyword(s):  
Music Scene

2018. gada latviešu metālmūzikas albumi

2020 ◽  
pp. 185-200
Author(s):  
Ingars Gusāns
Keyword(s):  
Heavy Metal ◽  
Metal Music ◽  
Knowing That ◽  
Music Scene ◽  
Digital Format ◽  
First Impression ◽  
The World ◽  
The Common

The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.

scholarly journals Smart Collaborative Performance-Induced Parameter Identification Algorithms for Synchronous Reluctance Machine Magnetic Model

2021 ◽  
Vol 13 (8) ◽  
pp. 4379
Author(s):  
Linjie Ren ◽  
Guobin Lin ◽  
Yuanzhe Zhao ◽  
Zhiming Liao
Keyword(s):  
Low Cost ◽  
Parameter Extraction ◽  
Synchronous Reluctance Machine ◽  
Fitness Evaluation ◽  
Reluctance Machine ◽  
Candidate Solution ◽  
Collaborative Performance ◽  
Magnetic Model ◽  
Quantitative Results ◽  
Cost Characteristics

In rail transit traction, due to the remarkable energy-saving and low-cost characteristics, synchronous reluctance motors (SynRM) may be a potential substitute for traditional AC motors. However, in the parameter extraction of SynRM nonlinear magnetic model, the accuracy and robustness of the metaheuristic algorithm is restricted by the excessive dependence on fitness evaluation. In this paper, a novel probability-driven smart collaborative performance (SCP) is defined to quantify the comprehensive contribution of candidate solution in current population. With the quantitative results of SCP as feedback in-formation, an algorithm updating mechanism with improved evolutionary quality is established. The allocation of computing resources induced by SCP achieves a good balance between exploration and exploitation. Comprehensive experiment results demonstrate better effectiveness of SCP-induced algorithms to the proposed synchronous reluctance machine magnetic model. Accuracy and robustness of the proposed algorithms are ranked first in the comparison result statistics with other well-known algorithms.

Free Musical Improvisation and the Philosophy of Gilles Deleuze

2011 ◽  
Vol 49 (1) ◽  
pp. 127-142
Author(s):  
Rogério Costa
Keyword(s):  
Gilles Deleuze ◽  
Musical Improvisation
Sign in / Sign up

Export Citation Format

Share Document