Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-08-22T18:02:33Z No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) / Made available in DSpace on 2017-08-22T18:02:33Z (GMT). No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) Previous issue date: 2016-07-19 / This research was made with students from the Maranhão’s State Music School and it investigates about using arpeggios (triads and fourths) on melodic improvisation like being a base of a methodological proceeding to be suggested for the teaching of the subject Improvisation I in the technical course of this school. It was realized two videos recording filming and two audio recording in what the students presented his knowledge about music improvisation before and after the systematic studying from the theoretical and practice contents suggested in this research. After the confront of those two moments from a sample of students extracted from the whole group of participants students, it was made some analysis and considerations about how the improvisation teaching happened in the music school and also the possible benefits that this methodological proceeding with the using of arpeggios could bring to the teaching of the subject. / Esta pesquisa efetuada com alunos da Escola de Música do Estado do Maranhão – EMEM investiga o uso de arpejos (tríades e tétrades) na improvisação melódica, como base de um procedimento metodológico a ser sugerido para o ensino da disciplina Improvisação I do curso técnico dessa escola. Foram realizadas duas filmagens de vídeo e duas gravações de áudio em que os alunos apresentaram seus conhecimentos em improvisações antes e depois do estudo sistemático dos conteúdos teóricos e práticos sugeridos nesta pesquisa. Após o confronto desses dois momentos de um grupo amostra extraído do total de alunos participantes, são feitas análises e considerações sobre como o ensino de improvisação acontecia na escola bem como os possíveis benefícios que o procedimento metodológico com o emprego de arpejos utilizado poderá trazer para o ensino da disciplina.

The aim of this dissertation is to define and account for experiences of musical connectivity by exploring the relationship between joint musical action and social experience through a combination of ethnographic and empirical methods. Live sitar and tabla duo performance, in the Hindustānī tradition, forms the focus of the studies. Through its approach and scope, this research contributes to a broadening of knowledge and understanding of how people play music together, and experience varying feelings of 'togetherness' while doing so, from an interdisciplinary, non- Western perspective. The dissertation first considers the various musical and social concepts and behaviours that characterize Hindustānī performance. This is followed by an in-depth analysis of a commercial recording by master musicians Pt. Nikhil Banerjee and Zamir Ahmed Khan, in which the formal, rhythmic, and micro-temporal interactions are explored from a relational, socially-driven perspective. Lastly, qualitative and quantitative data collected through a case study carried out in Varanasi, India, involving close collaboration with expert informants Shyam Rastogi (sitar) and Sandeep Rao (tabla) together with the participation of five other local musicians are presented and discussed. Nine audio-visual performances were recorded, and performers were subsequently interviewed regarding aspects of their social experience whilst playing. Performances were then analysed in order to relate performers' musical interactions with their self-reported feelings of sociality, both generally and at specific moments of their performance. These various results are used to support a novel model of musical connectivity, based on (i) ethnographic insight gathered through fieldwork, (ii) formal and informal interviews with numerous Indian musicians, and (iii) the author's auto-ethnographic account of his practice as a sitar student. This model and the phenomenological insights that it presents are explored in detail in the concluding chapter.

abstract: “Mierda.” was an original 50-minute solo dance and theater performance by Jordan Klitzke along with guest artist Gina Jurek that premiered from September 6-8, 2018 at Arizona State University. The creative tools of sensation, presence, and fantasy were applied in the development of an individualized movement vocabulary focused on the artist’s embodiment of contrasting ideas. That research was then further cultivated into an immersive theatrical collage that stimulated relational thinking and heightened consciousness. “Mierda.” was an example of a contemporary creative process that utilized the languages of dance and theater. The performance was a unique continuation of artistic research undertaken by pioneers in the dance and theater fields such as Danielle Agami, Lloyd Newson, Hofesh Schechter, and Anne Bogart. It was documented and created over a nine-month period including the three final performances. The form and content of “Mierda.” was not predetermined, but emerged throughout the creative process and performance of the work. The resulting narrative demonstrated the revelatory potential of this style of theatrical inquiry. Precise energy, tension and questioning formed an immersive, intimate experience for the viewers and performers and invited the audience to “fill in the blanks” as they connected with the emerging narrative. The final work was a collage of surprising juxtapositions on both the micro-level of individual movements and the macro-level of theatrical structure. Analysis of the work resulted in a critical understanding of the creative tools used along with future proposals for continued research. Not only did the research enlighten and contextualize the practices of an emerging choreographer, it also argued for a new understanding of the value of Dance as a personal practice of reflection and growth. / Dissertation/Thesis / Masters Thesis Dance 2018

abstract: This project uses fourteen transcriptions of Pete Fountain’s solos as examples to demonstrate traditional jazz clarinet techniques and language in terms of motives, patterns, and a variety of articulations. This project also includes guidelines on how to practice jazz improvisation as well as how to apply Fountain’s techniques and jazz language to one’s own improvisation. Though there are countless musicians who have made remarkable contributions to the development of the jazz language, Pete Fountain’s unique style is particularly worthy of study due to his massive media presence, effortless playing techniques, unique tone quality, and showmanship throughout his career. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Theater programs that focus solely on the influence of the Stanislavski system are neglecting students’ opportunity to experience additional approaches to performance study that focus more readily on the sensations of the human body and the practices of improvisation to prepare actors to be able to stay present and respond truthfully within any moment. The pedagogical work of Jacques Copeau and Jacques Lecoq, which relies on improvisation, paired with more recent stylings of improv teachers such as Viola Spolin, Keith Johnstone, and Del Close reignite a modern sensation of play, found uninhibited in the world of nature, such as the expressive freedoms found in infants. These techniques bring out a truthful style of performance that is tailored to the individual, instead of tailoring the individual to the style. Not only are these performance methodologies useful to the performance artist, but they also hold proven in communities outside of the arts, helping people understand different perspectives, and improve their compacity for empathy and communication.

Tack vare framsteg inom portabel elektroencefalografiteknologi (PEEGT) har det blivit lättare och billigare att studera hjärnans aktivitet i form av hjärnvågor. Syftet med det här arbetet var att studera skillnaden i hjärnaktivitet mellan musikaliska aktiviteter, genom att använda sig av PEEGT. Verktyget som användes till ändamålet är utvecklat av företaget EMOTIV och heter ”Insight”. Att använda sig av PEEGT för att uppskatta känslor och sinnestillstånd är ett relativt nytt forskningsområde med en lovande framtid. Det här arbetet motiveras av möjligheten att använda sig av sådan hjärnforskning för att leta efter svar på frågor kring undervisning och musicerande. Till studien valdes de två musikaliska aktiviteterna improvisation och avistaläsning. EMOTIVs Insight användes sedan till att samla data vid 10 olika tillfällen, som därefter analyserades med ett Wilcoxon signed rank test. Den kvantitativa datan triangulerades med anteckningar från en loggbok om subjektiva upplevelser vid de 10 mättillfällena. Resultatet visade ingen statistiskt signifikant skillnad mellan de musikaliska aktiviteterna. Som varandes ett självexperiment visade det sig ändå vara lärorikt för forskningssubjektet, framförallt vad gäller insikter om förhållandet mellan anteckningarna i loggboken och datan från EEG:en. Förhoppningsvis kan arbetet tjäna som inspiration till att göra liknande arbeten i framtiden. / Thanks to recent advances in the development of portable electroencephalografy technology (PEEGT), doing research on brain activity has become both cheaper and more convenient to do. The purpose of this study was to investigate the difference of the brain activity between musical activities, using the commercially available PEEGT “Insight”, developed by the tech company EMOTIV. The use of these PEEGT to estimate states of mind and emotions is a relatively new area of research, with a promising future. The study is motivated by the possibility to use research like this to address questions about education and musicmaking. Two musical activities were chosen for the study, improvisation and sight-reading. EMOTIVs Insight was used to collect data on 10 separate occasions, which later was analyzed with the Wilcoxon Signed Rank Test. The quantitative data was triangulated with notes from a logbook about the subjective experiences during the 10 occasions. No statistically significant difference was found between the activities. On the other hand, the study proved useful for the subject. Especially regarding insights on the relationship between the notes in the logbook, and the reported data from the EEG. Hopefully the work can also serve as an inspiration for future studies.

This dissertation examines aspects of the creative practice of Muhal Richard Abrams, composer, improviser, pianist, and cofounder of the Association for the Advancement of Creative Musicians (AACM). Abrams’s work intersects with various facets of creative music. I focus on free improvisation, both as a stand-alone performance and in conjunction with through composed music, his engagement with writings by theorist Joseph Schillinger, and his work as a composer. This study provides an historical overview of Abrams’s life and output, supplies analytical accounts of his music and creative practice, contributes to critical issues in music theory and analysis through these examinations, and diversifies the music, musicians, and topics that comprise the discipline of music theory. My examinations position Abrams as an important figure in twentieth century music, both improvised and composed, and expand studies in music theory and analysis. I offer new perspectives on and a framework for the analysis of free improvisation and intra-ensemble interaction, challenge traditional binaries between music theory and black experimental music, explore the influence of Schillinger’s theoretical treatise, The Schillinger System of Musical Composition ([1946] 1978), on Abrams’s work as a composer, explicate a set of idiosyncratic theoretical publications to suggest an underground genealogy of music theory, and posit an analytical vista that sits at the intersection of music performance, disability, and critical race studies. My overview of Abrams’s life and work draws on historical scholarship to tease out details of his development and practice in Chicago and New York, and analyzes contemporaneous articles from magazines, newspapers, and journals in order to provide a snapshot of the reception of Abrams’s work and the various scenes that he traversed. In response to Abrams’s individual approach to interactive free improvisation, which functions as either a stand-alone performance or alongside composed music, I employ the concept of affordances from ecological psychology. My affordance based analytical framework facilities a reappraisal of musicians’ interactions during free improvisation and also theorizes the relationship that emerges when free improvisation is preceded and/or followed by composed material. I analyze Abrams’s improvised duet with Fred Anderson, “Focus, ThruTime…Time—>” (2011) and his quartet rendition of “Munktmunk” (1987) to illustrate my framework and elucidate the richness of these performances. I perform a close reading of Schillinger’s theoretical treatise to suggest resonances between Abrams’s creative practice and the text. I do not aim to elect Schillinger as a kind of fountainhead for Abrams’s practice. Rather, I argue that the numerous resonances between Schillinger’s text and Abrams’s practice connote reasons why the treatise strongly appealed to Abrams, such that he employed it both compositionally and pedagogically for a large portion of his life. I extrapolate from this discussion to outline and theorize an underground genealogy of music theory that represents a more diverse set of music theoretical practices than is often discussed in the discipline. Finally, I analyze composed portions of four works by Abrams: “Inner Lights” (1985), “Charlie in the Parker” (1977), “Hearinga” (1989), and “Piano Duet #1” (1987). My analyses of the first three of these pieces intimate the presence of some of Schillinger’s theoretical principles. Abrams does not simply realize Schillinger’s theoretical method in his work, but rather maintains artistic agency by selectively filtering those suggestions through his own pluralistic aesthetic. Finally, I combine recent work on disability in music and critical race theory to analyze “Piano Duet #1,” in which the two pianists’ bodies are restricted in performance. This analysis offers a generative reappraisal of music performance and disability studies in light of race while also elucidating some of the richness of Abrams’s composition.

Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundaries / Master of Arts (Hons.)

This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education / Doctor of Philosophy (PhD)