scholarly journals Evaluating Creativity in Automatic Reactive Accompaniment of Jazz Improvisation

2021 ◽  
Vol 4 (1) ◽  
pp. 210
Author(s):  
Fabian Ostermann ◽  
Igor Vatolkin ◽  
Günter Rudolph
Keyword(s):  
Jazz Improvisation

Specifying the Flexible Mental Representation Used in Jazz Improvisation

2004 ◽  
Author(s):  
Helga Noice ◽  
Roger Chaffin ◽  
Tony Noice ◽  
John M. Jeffrey ◽  
James Pelletier
Keyword(s):  
Mental Representation ◽  
Jazz Improvisation

The effect of mental practice on melodic jazz improvisation achievement.

2018 ◽  
Vol 28 (1) ◽  
pp. 40-49
Author(s):  
Peter Miksza ◽  
Kevin Watson ◽  
Iantheia Calhoun
Keyword(s):  
Mental Practice ◽  
Jazz Improvisation

Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities

2019 ◽  
Vol 5 (3) ◽  
Author(s):  
Joshua Banks Mailman
Keyword(s):  
Music Composition ◽  
Jazz Improvisation ◽  
The Third ◽  
Partial Orderings ◽  
Compositional Structures ◽  
Surface Patterns ◽  
Inside Part ◽  
Musical Activities

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

scholarly journals DEVELOPING CREATIVE SKILLS OF THE FUTUREMUSIC TEACHERS BASEDON JAZZ IMPROVISATION

2020 ◽  
Vol 1 ◽  
pp. 22-27
Author(s):  
T. Bivsheva ◽  
◽  
O. Pogoda ◽  
O. Tsuranova ◽  
◽  
...  
Keyword(s):  
Jazz Improvisation

scholarly journals Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit

2017 ◽  
Vol 10 (2) ◽  
pp. 257-269
Author(s):  
Brent D. Rowan
Keyword(s):  
Cultural Capital ◽  
Life Skills ◽  
Jazz Improvisation ◽  
Human Beings ◽  
Jazz Style ◽  
The Impact ◽  
Deep Listening

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.

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