Syftet med studien är att bidra till att fördjupa kunskapen om musikterapeuters uppfattningar av improvisation i musikterapi genom kvalitativa intervjuer med fem musikterapeuter. I bakgrunden presenteras litteratur och forskning inom musikterapi och musikpsykologi. I resultatet presenteras de teman som utkristalliserats i intervjuerna: Det improvisatoriska rummet, Samspel med undertemat Interpersonellt samspel och Intrapersonellt samspel, Det autentiska självet med två underteman Att uppleva och Att uttrycka. Slutligen presenteras temat Kreativitet med undertemat Lek och Estetisk uttryck. I diskussionen lyfts teman Integrerad praktik, Intra- och interpersonella processer samt Multimodal uppmärksamhet. I resultatet framkommer att musikterapeuternas arbete med improvisation kan ses som integrerad praktik med en multimodal uppmärksamhet på klientens varande i improvisationen. Improvisationerna synes behandla intra- och interpersonella relationer. / The purpose of the study is to contribute to deepening the knowledge of music therapists' perceptions of improvisation in music therapy through qualitative interviews with five music therapists. In the background, literature and research in music therapy and music psychology are presented. The results present the themes crystallized in the interviews: The improvisational space, Interaction with the sub-theme Interpersonal interaction and Intrapersonal interaction, The authentic self with two sub-themes, To experience and To express. Finally, the theme Creativity is presented with the sub-theme Play and Aesthetic expression. The discussion highlights the themes of Integral practice,Intrapersonal and interpersonal processes and Multimodal attention. The results show that the music therapists' work with improvisation can be seen as integral practice with a multimodal attention to the client's being in the improvisation. The improvisations seem to deal with intra- and interpersonal relationships.

Title: Applying improvisation within organizations, when faced with a crisis –   A study of how organizations in the public administration and Red Cross can apply improvisation to meet the new needs and demands of the outside world.   Subject: Business economy III, 2FE78E   Author: Lina Andersson and Lisa Johansson   Tutor: Krister Bredmar   Examinator: Mikael Lundgren   Date: 2016-01-12   Subject terms: Improvisation, crisis, customization and innovatie solutions

<p>Participaters: Andy Yeo (electric guitar), Samuel Löfdahl (double bass) and Karl-Henrik Ousbäck (drums).</p><p>Program:</p><p>Interplay - composed by Bill Evans</p><p>It was time to move - composed by Filipe Raposo</p><p>Inquiétude - composed by Filipe Raposo</p><p>Unglamorous profession - composed by Filipe Raposo</p><p>Entrudo I - II - composed by Filipe Raposo</p><p>Fugue with no prelude - composed by Filipe Raposo</p><p>Uncertainly lost in Stockholm - composed by Filipe Raposo</p><p>Se uma gaivota (encore) - composed by Allain Ouman</p><p>  </p>

Detta arbete har utifrån ett integrativt förhållningssätt undersökt hur improvisationstekniken strettokanon kan användas i gymnasiets gehörs- och musiklärarundervisning. En undervisningsmodell har prövats och utvärderats i ett undervisningsförsök på estetiskt gymnasium, och funnits vara ett väl fungerande tillvägagångssätt för att lära ut strettokanon på gymnasienivå.

Detta arbete handlar om min resa mot en friare improvisation genom att bryta ner gitarrhalsen i mindre beståndsdelar och lokalisera grundtoner och visualisera intervall utifrån dem med hjälp av den metod som jag kallar för den”intervalliska metoden”. Det ville jag göra för att frångå de mönster och boxar som jag vanligtvis använder mig av, vilket är en metod som kallas för ”caged-metoden”. I arbetet beskrivs det hur jag steg för steg jobbar med olika moment, övningar, analyser och hur jag tar mig an utmaningar för främjandet av min utveckling. Under processens gång presenterar jag vitala element som var tvungna att falla på plats för att jag skulle nå ett lyckat resultat. Jag demonstrerar arbetet till stor del med hjälp av visuella medel, så som notbilder och filmer för att stödja min forskning. Arbetet resulterade i en bättre förståelse för harmonik, ökad säkerhet och kontroll i att konstruera melodier och rent generellt ett starkare improvisatoriskt fundament.

This study presents a phenomenological enquiry of two professional music improvisers' perceived mental representations. The notion of perceived 'mental representations' are recognized as having a pedagogical importance in increasing the quality of a musical performance, yet its nature and roles in music learning remain poorly understood. Although they are generally seen as conscious and quasi-perceptual experiential phenomena involving the imagination of events, objects, and settings, music scholars have found 'mental representations' difficult to conceptualize due to the coexistence of its different names and definitions in the literature. Synonymous terms of 'mental representations' also feature in several phenomenological and psychological models of referent-based musical improvisation. These include the concepts of 'tonal imagery' (Pike, 1974), 'representational structures' (Clarke, 1988), and 'analytical representations' (Pressing, 1988). To address this gap, the present study seeks to conceptualize the nature, formation, and roles of mental representations in the context of the musical improvisation process. An overarching research question guided the study: What characterises the nature of improvisers' embodied perceived mental representations before, during, and after a thematic musical improvisation? The study's qualitative methodology is positioned in constructivism and draws on the theoretical thinking of Andreas C. Lehmann and Marc Leman. In particular, this study adopts Lehmann's (1997) theory of three necessary types of mental representations in an expert musical performance (1. the desired performance goal, 2. the production aspects, and 3. the actual performance) as a theoretical lens to understand how the improvisers' mental representations are used. In addition, Leman's (2010) framework of embodied approach to musical semantics is used to access and understand how the improvisers' mental representations are formed. The research design comprised two phenomenologically informed descriptive case studies of two professional improvisers. A central feature of this study's design was having the improvisers learn a given musical stimulus in order to trace the formation and development of their perceived mental representations before, during, and after their improvisations. In addition, a group of four methods was employed: semi-structured interviews, live musical performance, graphic elicitation, and observation. Data comprising interview quotes, thick descriptions, the improvisers' performances, and their drawings were first analysed separately, and then were brought together and interpreted using a framework informed by the theoretical works of Lehmann and Leman. The findings of the study are presented in a narrative across two descriptive case studies, showing how the mental representations from Lehmann's model, and Leman's six types of semantics are evidenced throughout the two improvisers' learning, ideation, improvisation, and reflection phases. In particular, the key findings presented four ways of meaning constructions during the improvisers' formation of their mental representations, and identified twelve types of goal, production, and reflection-based mental representations. Bringing the two cases together, the study concludes that the two professional improvisers' mental representations: (1) are multi-various in nature, (2) undergo progressive and distributive formations, and (3) take on multiple types of roles. In addition to pedagogical recommendations to music education, the study's methodological contribution lies in providing a reference point and common ground for locating and describing the different phenomena taking place during improvisation - 'mental representations' being just one of them.

In this thesis I present a new dramaturgical model for understand improvised theatre. Improvised theatre is a field full of experimentation, and the art form has recently been evolving faster than the theories used to understand it. Rather than relying on colloqiual terms such as “short form” and “long form”, I propose a new terminilogy based on Chris Johnston’s notion of “Restrictions”. I explain the use of the Restrictions: Location, Role, Narrative, Game, and Materials, and how to meassure the “Scope” of Restrictions by the Number of affected performers and Duration. I explain how Restrictions affect four elements of improvised performance: Space, Time, Speech, and Physicality. By creating a rubric to illustrate the interaction between Restrictions and these elements, I move towards a new foundation for understanding improvised theatre. In addition, I propose four metrics to meassure audience participation: Number of participants, Method of participation, Agency of the participat, and Duration of the participation. Using my Restriction rubric and audience participation metrics, I analyse four case studies. Each case study is a recent piece of improvised theatre. I attended each piece multiple times and interviewed the artists behind eacch production with a questionnaire. These are Blind Date and Undercover by Spontaneous Theatre, Quest Friends Forever, and GRIMprov’s Guided Roleplay. Each production features audience participation, the effects of which I explain using Erika Fischer-Lichte’s notion of the autopoietic feedback loop.By analysing these contemporary productions I demostrate the efficacy of my new rubrics and terminilogy.

Traditional instrumental pedagogy depends to a large extent on printed method books. This notation-based approach of current horn pedagogy can benefit from a supplementary and complementary method of aural and creative pedagogy, which enhances learning of aural skills, creativity, musicality, and technique on the horn. This document provides a step-by-step guide for applied horn teachers that will provide them with the necessary tools to teach students using aural and improvisatory techniques without musical notation as well as to become more comfortable with improvisation.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on December 13, 2007) Vita. Includes bibliographical references.

Six Ira Sullivan performances were analyzed from studio and live recordings spanning the years 1962 to 1998. Sullivan plays different musical instruments on five of the six selections: trumpet, flute, tenor saxophone, alto saxophone (2 selections), and soprano saxophone. Musical facets considered include phrasing (length/placement), melodic contour, lyricism, harmonic phenomenon, and concept of sound. Common musical threads within Sullivan's improvisations were expected to be found throughout all performances. A call and response dynamic across myriad musical fundamentals such as melody, harmony, and rhythm was found to be present and seems to form a basis for much of Ira Sullivan's improvisations. This and other broad traits common to Sullivan's improvisations are presented herein through analysis.