Blow the Man down, a Free Improvisation on the Sailor's Ballad, for Four-Part Chorus of Mixed Voices with Contralto and Baritone Solos and Symphonic Orchestra

Notes ◽  
1948 ◽  
Vol 5 (2) ◽  
pp. 264
Author(s):  
Paul Hume ◽  
Roy Harris
Keyword(s):  
Free Improvisation ◽  
Symphonic Orchestra ◽  
Mixed Voices

The Value of Learning Collective Free Music Improvisation: Preservice Music Educators’ Perspectives

2021 ◽  
Vol 30 (3) ◽  
pp. 40-53
Author(s):  
Hoon Hong Ng
Keyword(s):  
Music Teachers ◽  
Music Educators ◽  
Music Curriculum ◽  
Group Discussions ◽  
Music Improvisation ◽  
Free Improvisation ◽  
Entrepreneurial Skills ◽  
School Music ◽  
Collaborative Skills

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.

Piano+: An Approach towards a Performance System Used within Free Improvisation

2010 ◽  
Vol 20 ◽  
pp. 41-46
Author(s):  
Sebastian Lexer
Keyword(s):  
Decision Making ◽  
Parameter Space ◽  
Social Space ◽  
Computer Performance ◽  
Free Improvisation ◽  
Technical Realization ◽  
Acoustic Instruments ◽  
Performance System ◽  
And Behavior ◽  
Computer Operation

This article explores the author's strategy for developing a computer performance system designed for free improvisation with acoustic instruments following a non-idiomatic approach. Philosophical considerations on potentiality and personal and social space and research into the psychology of motivation and behavior have inspired and enabled a different approach to integrating technology with improvisation. The technical realization of a parameter space, in particular utilizing contingent behavior emerging from the convergent mapping of a mixture of controller types, has proven effective for the spontaneous creative decision making required to extend the sonic potential of an acoustic piano while minimizing direct computer operation, as applied regularly in practice by the author.

All Things Are Thine. Anthem for Mixed Voices with Tenor Solo, Organ Acc

Notes ◽  
1950 ◽  
Vol 7 (4) ◽  
pp. 635
Author(s):  
Paul Hume ◽  
Leo Sowerby
Keyword(s):  
Mixed Voices

Rosy May. Four-Part Song for Mixed Voices

1928 ◽  
Vol 69 (1023) ◽  
pp. 433
Author(s):  
Burns ◽  
Edgar L. Bainton
Keyword(s):  
Mixed Voices

scholarly journals In the North Land. Part-Song for Mixed Voices

1909 ◽  
Vol 50 (802) ◽  
pp. 793
Author(s):  
Cliffe Forrester ◽  
Colin Taylor ◽  
J. W. Elliott ◽  
A. Madeley Richardson
Keyword(s):  
The North ◽  
Mixed Voices

Coronach; A Scottish Song for Chorus of Mixed Voices with Piano Accompaniment

Notes ◽  
1948 ◽  
Vol 6 (1) ◽  
pp. 177
Author(s):  
Paul Hume ◽  
Mario Castelnuovo-Tedesco
Keyword(s):  
Mixed Voices

scholarly journals Musical Archetypes and Collective Consciousness: Cognitive Distribution and Free Improvisation

2004 ◽  
Vol 1 (1) ◽  
Author(s):  
Jared B Burrows
Keyword(s):  
Activity Theory ◽  
Group Performance ◽  
Collective Consciousness ◽  
Empirical Observation ◽  
Psychological Conditions ◽  
Free Improvisation ◽  
Heuristic Devices ◽  
A Performance

This paper investigates free improvisation from the perspectives offered by cognitive distribution theories as pioneered by Vygotsky, Wundt, and Mead. Using a hypothetical 'script' of an improvised performance, the paper suggests possible explanations for the kinds of socially-mediated, cognitive interactions which can take place in a group improvisation. Diagrams and models developed from Engeström's work on activity theory are used as heuristic devices to explore the possible physical and psychological conditions and factors which influence and contribute to a group performance. Successive models are shown to be useful in understanding certain aspects of the improvising process, but it is also made clear that there are key spiritual and emotional components of the process which defy empirical observation and description. The paper suggests that improvised musical dialogue and narrative are developed through 'archetypes', musical gestures which carry meanings and intentions between and among participants in a performance.

The St. John Passion, for Mixed Voices, Soloists, Organ, and Orchestra

Notes ◽  
1966 ◽  
Vol 22 (3) ◽  
pp. 1111
Author(s):  
Daniel Pinkham ◽  
George Frederick Handel ◽  
Buell Agey
Keyword(s):  
Mixed Voices

Donohue+: Developing performer-specific electronic improvisatory accompaniment for instrumental improvisation

2021 ◽  
Vol 26 (1) ◽  
pp. 129-139
Author(s):  
Sam Gillies ◽  
Maria Sappho Donohue
Keyword(s):  
Decision Making ◽  
Electronic System ◽  
Instrument Design ◽  
Electronic Systems ◽  
Musical Language ◽  
Live Performance ◽  
Collaborative Process ◽  
Creative Practice ◽  
Free Improvisation ◽  
Music Making

Electronic systems designed to improvise with a live instrumental performer are a constant mediation of musical language and artificial decision-making. Often these systems are designed to elicit a reaction in a very broad way, relying on segmenting and playing back audio material according to a fixed or mobile set of rules or analysis. As a result, such systems can produce an outcome that sounds generic across different improvisers, or restrict meaningful electroacoustic improvisation to those performers with a matching capacity for designing improvisatory electroacoustic processing. This article documents the development of an improvisatory electroacoustic instrument for pianist Maria Donohue as a collaborative process for music-making. The Donohue+ program is a bespoke electroacoustic improvisatory system designed to augment the performance capabilities of Maria, enabling her to achieve new possibilities in live performance. Through the process of development, Maria’s performative style, within the broader context of free improvisation, was analysed and used to design an interactive electronic system. The end result of this process is a meaningful augmentation of the piano in accordance with Maria’s creative practice, differing significantly from other improvising electroacoustic instruments she has previously experimented with. Through the process of development, Donohue+ identifies a practice for instrument design that engages not only with a performer’s musical materials but also with a broader free improvisation aesthetic.

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