Thesis (M.A.)--Carleton University, 1993. / Also available in electronic format on the Internet.

Thesis (Ph. D.)--Carnegie Mellon University, 2001. / "May 2001." Includes bibliographical references (p. 273-282).

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 17, 2002, Oct. 6, 2003, Nov. 22, 2004, Apr. 5, 2008. Includes bibliographical references (p. 68-69).

No description available.

During this project I have studied piano music by Franz Schubert (1797-1828) to thereafter use a couple of his harmonic structures as a foundation for composing music for piano trio. To write music that encourages improvisation and interaction between the band members has been a central focus while the broad goal of the project has been to develop myself as a musician and person. The project started in the fall of 2017, a senior recital was performed in Lilla Salen at KMH the 28th of February and was followed by time for reflection which can be found documented in my paper.             Something I wanted to try with this project was to create according to a partially predetermined method. I wanted Schubert’s music to have an impact on my compositions and from there I decided to transcribe harmonic structures on four of his works to rework these into new compositions. I hoped that this method would bring a forward motion to the work and in retrospect I believe it did. Composing with a few guidelines contributed with a sense of comfort to the process and made me stay on track through passages of low inspiration.             Reflecting on my work I feel that it became a good closure to my studies at KMH. A hybrid process showcasing different musical expressions, skills and sides to my personality with a work method that felt exciting. / <p>Examenskonsert</p>

abstract: From fall 2010 to spring 2011, the author was the pianist in twenty public performances of Wilderness, a site-adaptable dance and audio installation by choreographer Yanira Castro and composer Stephan Moore. Wilderness's music was generated as the result of an algorithmic treatment of data collected from the movements of both dancers and audience members within the performance space. The immediacy of using movement to instantaneously generate sounds resulted in the need for a real-time notational environment inhabited by a sight-reading musician. Wilderness provided the author the opportunity to extensively explore an extreme sight-reading environment, as well as the experience of playing guided improvisations over existing materials while incorporating lateral thinking strategies, resulting from a real-time collaboration between composer and performer during the course of a live performance. This paper describes Wilderness in detail with particular attention focused on aspects of the work that most directly affect the pianist: the work's real-time notational system, live interaction between composer and performer, and the freedoms and limitations of guided improvisation. There is a significant amount of multi-media documentation of Wilderness available online, and the reader is directed toward this online content in the paper's appendix. / Dissertation/Thesis / D.M.A. Music 2012

Detta är en studie om barns musikaliska utveckling under de första levnadsåren samt deras spontana och fria musicerande. En kvalitativ studie har genomförts genom passiva observationer på fyra svenska förskolors musikstunder och samtal med dess personal om hur dessa arbetar med barnens kreativa skapande i musik genom improvisation och komposition under själva musikstunden. I samband med observationerna har även samtal och intervjuer med förskolepersonalen genomförts där de fått ge sin syn på musikstunden, dess innehåll och mål. Analys av resultatet gjordes utifrån de didaktiska begreppen; Mål, Innehåll, Metod och Värdering. Det som framkom var att det fria och spontana musicerandet fick väldigt lite utrymme under musikstunderna. Målet med musikstunden var i första hand att utveckla språket eller lära mer om andra ämnen än musik samt fungera som en uppstart på dagen. Vid samtliga observationer reproducerades sedan tidigare kända barnsånger såsom förskolepersonalen lärde ut dem och barnen gavs ingen möjlighet att själva hitta på sånger eller musikaliska kompositioner.

Submitted by Fernando Bueno Catelan (fernandocatelan@yahoo.com.br) on 2018-06-21T13:41:53Z No. of bitstreams: 1 Dissertação - FERNANDO BUENO CATELAN - submissão.pdf: 10929750 bytes, checksum: 36a2018af6eea28c5f1c87f4308aee1c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-06-26T23:32:09Z (GMT) No. of bitstreams: 1 catelan_fb_me_ia.pdf: 10929750 bytes, checksum: 36a2018af6eea28c5f1c87f4308aee1c (MD5) / Made available in DSpace on 2018-06-26T23:32:09Z (GMT). No. of bitstreams: 1 catelan_fb_me_ia.pdf: 10929750 bytes, checksum: 36a2018af6eea28c5f1c87f4308aee1c (MD5) Previous issue date: 2018-06-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesse trabalho, apresentamos reflexões teóricas e práticas sobre Improvisação Teatral na Educação de Jovens e Adultos. Investigamos aspectos políticos inerentes à educação e ao teatro tendo como fundamento teórico os trabalhos pedagógicos de Paulo Freire (2015a), que estabelecem relação direta entre as intencionalidades políticas e as práticas educativas a serem observadas para que a aprendizagem não seja opressora, mas sim libertadora; os estudos filosóficos de Jacques Rancière (2011), ao apresentar a política como uma interação coletiva em que todos/as se sintam como iguais e possam se manifestar, sendo o reconhecimento da igualdade das inteligência fator determinante para que haja emancipação; e as propostas teatrais de Augusto Boal (2013), que evidenciam que todo teatro é político, a partir das quais ele desenvolve o Teatro do Oprimido, deixando clara a sua atuação criadora em favor de uma ação política transformadora. Desenvolvemos nossa pesquisa em três escolas de Educação de Jovens e Adultos (EJA) da rede municipal pública de São Bernardo do Campo. Exercitamos, com quatro turmas diferentes, vivências de improvisação teatral a fim de observar como experiências teatrais podem contribuir no processo de ensino e aprendizagem dos/as educandos/as, no mesmo sentido daquilo que os autores que estudamos consideram a ação política, ou seja, como fator determinante para a emancipação e libertação. As metodologias que propusemos nas experiências práticas foram: Jogos Teatrais desenvolvidos por Viola Spolin (2015); exercícios de improvisação Sistema Impro, proposto por Keith Johnstone (MUNIZ, 2015); e técnicas de Teatro do Oprimido criadas por Augusto Boal (2007). / In this dissertation, we present theoretical and practical reflections on Theatrical Improvisation in Youth and Adult Education. We investigate inherent political aspects in education and theater. In this regard, we analyze the pedagogical works of Paulo Freire (2015a), which establish a direct relation between the political intentions and educational practices to be observed so that the learning is not oppressive, but liberating; the philosophical studies of Jacques Rancière (2011), in presenting politics as a collective interaction in which all feel equal and thus can manifest themselves, being the recognition of the equality of intelligences a determinant factor to achieve emancipation; and the theatrical proposals of Augusto Boal (2013), which show that every theater is political and develops the Theater of the Oppressed, making clear its creative activity in favor of a transformative political action. Our practical research was developed in three schools of Youth and Adult Education (EJA), of the public municipal network of São Bernardo do Campo. With four different classes, we performed theatrical improvisation experiences with the purpose of observing how theatrical experiences can contribute to the teaching and learning process of the students, in the same sense that the studied authors understand political action as a determining factor for the emancipation and liberation. The methodologies proposed in the practical experiences were: the Theatrical Games developed by Viola Spolin (2015); Impro improvisation exercises Impro System, proposed by Keith Johnstone (MUNIZ, 2015); and the Theater of the Oppressed techniques created by Augusto Boal (2007). / CAPES: 816305/2015

Using a research through design approach, this thesis presents a first prototype of Plot Twister, a novel interactive, audiovisual interface specifically designed for solo musicians improvising alongside computers. This highly simplified and intuitive interface allows the performer to simultaneously manipulate visual and musical content using one single controller, thus enabling the other hand to play an instrument. The design is based on the concept of adaptive music used in video games, where progression of musical form and expression over time is produced through movement in virtual 3D-space. This thesis describes the design process of two interface iterations and audiovisual compositions which are first evaluated using interviews, and then through auto-ethnographic multimodal interaction analysis by stimulated recall to identify its functions and potentials in the context of improvised live performances. The results implicate different ways how the physical interface can both influence as well as enable the user to effortlessly adapt musical form and content to fit her improvised musical exploration. Both audience and performer share access to the visual interface that provides real-time visual feedback of the musical content in a “gamified” style. The technical framework strongly favours looped, continuous, gradual and non-linear progressions of computer-based media where the concept of Plot Twister potentially can be implemented in other interactive contexts in the future.

This thesis investigated shared creative processes and the role of flow experience in group dance improvisation. A literature review suggested that dancers associate high-quality performance with 'being in the flow', and that group flow is a peak experience when a group is performing at its highest level. The first study explored the role of flow in dance creative practice and improvisation through qualitative content analysis of individual interviews with six dancers. Absorption with activity and enjoyment were themes in dancers' reports of flow. Group improvisation facilitated flow and creativity through maintaining desired focus for longer, lowering self-judgment and inspiring novel solutions. The second study investigated the occurrence of flow and its shared character within group improvisation using video-stimulated recall and questionnaire methods (n=16, 4 groups of four dancers). It showed that group flow was rather rare and it was more likely when a group had worked together for longer. Dancers reported that a group in a high-flow state engaged with a task in a more complex way, sharing, transforming and supporting each other's ideas, while low-flow groups worked more with mimicry and bodily manipulation. Dancers perceived tasks performed in a high-flow state as more creative. The third study explored the relationship between dancers' flow experience and creative outcomes from a third person perspective. A total of 203 participants (77 experts and 126 nonexperts) rated excerpts of high- and low-flow dance improvisation (five each) using Consensual Assessment Technique. Experts judged high-flow collaborations as more creative, and more coherent, technically advanced, aesthetically appealing and meaningful, however there were no significant differences in nonexperts' ratings. The fourth study explored whether synchronous arousal, measured by cross-recurrence quantification analysis of heart and breathing rate, was a physiological basis for group flow (n=8 group, 4 dancers per group). Although no relationship between synchronous arousal and flow was found, spontaneous synchronization of dancers' heart and breathing rate in improvisational group tasks was observed, unrelated to synchronized activity. Overall, the studies conducted confirmed that flow was a highly creative state for dancers, in which they performed better. The presence of others and quality of group collaboration supported the occurrence and amount of flow. However, group flow occurred rarely and was more likely when a group had worked together for longer.