Inaug.-Diss.--Klassische Philologie--Bonn, 1978. / Bibliogr. p. 259-265. Index.

The teaching of music improvisation is commonly approached as the process of incorporating the vocabulary of a specific style. In the university setting this is most often accomplished through the methodology of jazz. As an alternative, improvisation is also taught as an experimental or experiential endeavor influenced by the practice of free-improvisation. A third model teaches improvisation as games; this is common in the field of Music Education. Although all these methods accomplish their various purposes, in their pedagogical application none of these models focus on the most distinctive feature of improvisation: how the musician thinks. Improvisation as a way of “thinking music” constitutes a form of musical intelligence that entails a number of cognitive processes that solve specific problems unique to the improvisational setting. As an alternative to the existing models, I propose to teach improvisation as a form of intelligence, with the purpose of empowering the learner to construct a spontaneous yet intended musical discourse meaningful to the improviser and representative of his or her own understanding of musical organization. In order to advance a pedagogical model based on improvisational intelligence, I have conducted a grounded theory research project to construct a theoretical model of the cognitive processes of improvisation deployed by professional improvisers, with the intention that this model inform the teaching of improvisational intelligence. The research comprised individual interviews with 10 improvisers. The participants improvised a piece of music and subsequently elaborated on the cognitive mechanisms deployed while improvising. The resulting theory from this research proposes that improvisational intelligence consists of residual and emergent behaviors mediated by a monitoring system. The theory is illustrated by three models, and it is summarized in six postulates. The practical application of the model does not form part of this research; turning the theoretical model into a practical teaching method constitutes a subsequent stage to the current work. Nonetheless, the discussion section of the thesis elaborates on possible pedagogical applications and challenges for the professional musician as well as for various institutional settings such as the elementary school, the secondary school, the university jazz program, and the classical performance program.

The teaching of music improvisation is commonly approached as the process of incorporating the vocabulary of a specific style. In the university setting this is most often accomplished through the methodology of jazz. As an alternative, improvisation is also taught as an experimental or experiential endeavor influenced by the practice of free-improvisation. A third model teaches improvisation as games; this is common in the field of Music Education. Although all these methods accomplish their various purposes, in their pedagogical application none of these models focus on the most distinctive feature of improvisation: how the musician thinks. Improvisation as a way of “thinking music” constitutes a form of musical intelligence that entails a number of cognitive processes that solve specific problems unique to the improvisational setting. As an alternative to the existing models, I propose to teach improvisation as a form of intelligence, with the purpose of empowering the learner to construct a spontaneous yet intended musical discourse meaningful to the improviser and representative of his or her own understanding of musical organization. In order to advance a pedagogical model based on improvisational intelligence, I have conducted a grounded theory research project to construct a theoretical model of the cognitive processes of improvisation deployed by professional improvisers, with the intention that this model inform the teaching of improvisational intelligence. The research comprised individual interviews with 10 improvisers. The participants improvised a piece of music and subsequently elaborated on the cognitive mechanisms deployed while improvising. The resulting theory from this research proposes that improvisational intelligence consists of residual and emergent behaviors mediated by a monitoring system. The theory is illustrated by three models, and it is summarized in six postulates. The practical application of the model does not form part of this research; turning the theoretical model into a practical teaching method constitutes a subsequent stage to the current work. Nonetheless, the discussion section of the thesis elaborates on possible pedagogical applications and challenges for the professional musician as well as for various institutional settings such as the elementary school, the secondary school, the university jazz program, and the classical performance program.

Doctor of Philosophy / Chemistry / Christer B. Aakeroy / A series of co-crystallizations between four biimidazole based compounds with nine symmetric aliphatic di-acids and fifteen perfluorinated halogen-bond donors were carried out to determine if a MEPS based ranking can be used to effectively assign selectivity in hydrogen- and halogen-bond interactions. The results suggested that a simple electrostatic view provides a reliable tool for successfully implementing the practical co-crystal synthesis with desired connectivity. MEPS based selectivity guidelines for halogen-bond interactions were explored in co-crystallizations between twelve asymmetric ditopic acceptors and nine halogen-bond donors. If the difference between the two acceptor sites is below 35 kJ/mol, no selectivity was observed; above 65 kJ/mol halogen bond selectivity dominates and mid ΔE range was recognized as the grey area where predictions cannot be made. To examine competition between hydrogen and halogen bonds, five heteroaryl-2-imidazoles were co-crystallized with fifteen halogen-bond donors. It was found that halogen bonds prefer best the acceptor site, demonstrating that a suitably activated halogen-bond donor can compete with a strong hydrogen-bond donor. The benefits of ‘double activation’ for promoting halogen bond effectiveness was explored with nine haloethynylnitrobenzenes. The positive potential on halogen atoms was enhanced through a combination of an sp-hybridized carbon and electron-withdrawing nitro group(s). Iodoethynylnitrobenzenes were identified as the most effective halogen-bond donors reported to date and the compounds were exploited for the interaction preferences of nitro group and nitro⋯X-Csp interactions were identified as synthetic tools for energetic co-crystal assembly. A synthetic strategy for the deliberate assembly of molecular polygons was developed utilizing bifurcated halogen bonds constructed from N-oxides and complementary halogen-bond donors via co-crystallization. A convenient, effective, and scalable protocol for stabilizing volatile liquid chemicals with co-crystallization was achieved. Through the use of halogen-bonding, liquid iodoperfluoroalkanes were transformed into crystalline materials with low-vapor pressure, considerable thermal stability and moisture resistance. To stabilize the energetic compound ethylenedinitramine, a co-crystallization approach targeting the acidic protons was employed. Eight co-crystals were obtained and the acceptors were identified as supramolecular protecting groups leading to diminished reactivity and enhanced stability while retaining the desirable energetic properties.