This thesis presents a method of analyzing jazz improvisation and jazz style by using a voice-leading model called “Top Lines.” It compares three separate performances of Thelonious Monk’s “’Round Midnight” by Monk, Gerry Mulligan, and Wes Montgomery. The term Top Lines refers to a voice-leading procedure created by moving as little as possible between chords tones (roots, thirds, fifths, sevenths, and upper functions) of a chordal progression. Top Lines are potential voice-leading lines in the uppermost register and follow the “Law of the Shortest Way.” The thesis defines Top Lines, shows how they interconnect, and ultimately how the improvisor navigates through and manipulates them. Jazz harmony and improvisation have been explored by scholars such as Mark Levine (1989, 1995), Steve Larson (2005), Henry Martin (1988, 1996), and Steven Strunk (1996). Although many scholars deal with coherence and structure in the improvisation, their discussions focus on voice leading coherence and structure in improvisations, where this thesis differs is it provides a voice-leading model on a small scale within the improvisation itself. The model presented in this thesis raises the notion of describing jazz improvisation not simply as a motion from one chord tone to another, but instead as motion between voice leading Top Lines. These motions between Top Lines create coherence and motives—called “Particles”— in one’s improvisation. Particles ultimately demonstrate stylistic features in one’s improvisation, motivic connections, and coherence. The thesis concludes by describing how the Top Line model can be applied to jazz performance and jazz pedagogy. The thesis will be of interest to scholars of jazz theory, musicology, pedagogy, and jazz performance.

abstract: This research project was written simultaneously with a composition for double bass and piano that centers around improvisational concepts. The composition is intended for intermediate to advanced musicians to have an opportunity to practice improvisational performance and, hopefully, further their understanding and improve their ability to make convincing and creative musical decisions. Improvisation, an aspect of music that has a deep tradition in Western Classical music, is often feared by classical musicians. The lack of improvisation in classical music, the idea that it is a specialized skill, and the lack of encouragement from studio teachers contributes greatly to this fear. In addition, teachers themselves often fear teaching and utilizing improvisation in performance for these same reasons. The introduction of improvisation into both the student’s and the teacher’s studies and daily practice can be beneficial in the development of meaningful performance and understanding music theory concepts. This paper will introduce improvisation into daily practice that will educate both the student and the teacher and cement the understanding of theoretical concepts and standard repertoire. Various improvisation games (creating new material and improvising from traditional classical music) will be introduced. This study will begin with a brief survey of the tradition of improvisation in Western classical music from the Middle Ages to the present. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: This project’s goal is to expand the repertoire for soprano saxophone featuring improvisation. Each work detailed in this document features improvisation as an integral component. The first piece, Impetus, was written by Grant Jahn for soprano saxophone and piano. The second piece, Sonata, was written for the same instrumentation by Brett Wery. Ethan Cypress wrote the third work for solo soprano saxophone, Noir et Bleu. The final composition on the project, Counterpunch by Gregory Wanamaker, was written for saxophone sextet. This paper also includes composer biographies, program notes, performance guides, and composer questionnaires. The central component of this project is a recording of all these works which features the author. / Dissertation/Thesis / Counterpunch for Saxophone Sextet, by Gregory Wanamaker / Sonata for Soprano Saxophone and Piano, II. Adagio sognando – “Bluesy” andantino by Brett Wery / Sonata for Soprano Saxophone and Piano, III. Danza ritmica, by Brett Wery / Noir et Bleu for Solo Soprano Saxophone, by Ethan Cypress / Impetus for Soprano Saxophone and Piano, by Grant Jahn / Sonata for Soprano Saxophone and Piano, I. Allegro ma non troppo, by Brett Wery / Doctoral Dissertation Music 2018

abstract: Educed Play is a performance installation that investigates spontaneity and the invisible communication that can exist in improvisation and collaborative play. The work unites the mediums of dance, drawing, music, and video through improvisational performances. The multimedia installation entitled Educed Play was presented in the fall of 2012. Inspiration came from the idea of relics created by ephemeral interactions, using improvisation as a means to performance, and working within a genuine collaboration. This document encompasses an overview of the project. / Dissertation/Thesis / M.F.A. Dance 2013

abstract: This study intended to identify what children's perceptions and experiences are with contact improvisation and how these experiences relate to their education; their understanding of being an individual within a community; and their physical, social, and intellectual development. An interpretive phenomenological research model was used, because this study aimed to understand and interpret the children's experience with contact improvisation in order to find meaning relating to the form's possible benefits. The research was conducted over the course of ten weeks, which included classes, interviews, discussions, questionnaires, and journals. This study showed that contact improvisation empowered the children, opened the children's awareness, developed critical thinking, and created a deeper understanding and trust of the self and relationships formed within the class. The experiences found through teaching contact improvisation to these children showed that there are benefits to teaching children the form. / Dissertation/Thesis / M.F.A. Dance 2014

Orientador: Sara Pereira Lopes / Anexo 1 DVD-R: Curta-metragem Talita, Registro da partitura de ações da Clarissa: Exercicio n.2 / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T19:27:44Z (GMT). No. of bitstreams: 1 Ribas_MarianeMagno_D.pdf: 1815540 bytes, checksum: 7cb392739ddb202e7828dfe5c96606ef (MD5) Previous issue date: 2009 / Resumo: O texto que se constitui a seguir é uma extração dos processos empíricos com a imaginação do ator, trabalhada como ordenadora da presença cênica - ator e espaço . O trabalho desenvolvido e observado, em laboratório, teve como foco o processo criativo do ator; a partir do trabalho com as imagens apresentadas, atingir aquelas que emergem como conteúdo do agir e como meio de organização do tempo e do espaço, e ainda, como procedimento eficaz para que o ator possa evocar o seu próprio dizer. A partir destas formas de experimentação, aquilo que se configura como corpoator foi resultante do processo de preparação denominado nãoator - preparações específicas que criaram sustentáculos e ampliaram a consciência do ator sobre o corpoator e sobre seu ofício ; resultando da experiência um outro olhar denominado nãodireção / Abstract: This text is an extract of empirical processes with the imagination of the actor worked as orderer of the theatrical presence - actor and space. The work developed and observed, in laboratorial, had as a focus the creative process of the actor; departing from the work with the images presented, touch those that emerge as content of the action and as a means of organizing time and space, and also, as a effective procedure that allows the actor to evoke his own saying. Departing from these forms of experimentation, that which builds up as bodyactor resulted from a preparing process named nonactor - specific preparations that created a sustaining and broadened the conscience of the actor towards his bodyactor and over his office ; which resulted in another view named nondirection / Doutorado / Doutor em Artes

A matéria de que trata esta tese é a discussão do espetáculo Teatro-Esporte (tradução artística do método de improvisação teatral criado por Keith Johnstone) e suas contribuições para o trabalho do ator e para a formação de e do público de teatro. Este trabalho (desenvolvido por meio da discussão de situações reais, vivenciadas em treinamentos e apresentações do espetáculo) examina questões pertinentes ao processo de criação teatral, vistas sob a ótica dos fundamentos do referido método de improvisação, e como estes se materializam no espetáculo e em sua relação com o público. A partir desta análise, torna-se possível considerar a aplicação das ideias de Keith Johnstone como um caminho, tanto para o trabalho do ator na criação de cenas, personagens e narrativas, quanto para a construção do espetáculo, uma experiência teatral viva, na qual a imaginação e a espontaneidade ocupam lugar de destaque, enquanto uma pedagogia do espectador. / The subject matter of this thesis is the discussion of spectacle Theatresports (artistic rendering of the method of theatrical improvisation created by Keith Johnstone) and their contributions to the actors work as well as the formation to and of a theater audience. This work (developed through discussion of real situations that are experienced in training and presentations of the show) examines the issues that are pertinent to the process of theatrical creation, from the perspective of the grounds of the above mentioned method of improvisation and how they materialize in the show and their relationship to the audience. From this analysis, it becomes possible to consider the application of Keith Johnstones ideas as a way to both the work of the actor in creating scenes, characters and narratives as well as a construction of a spectacle, a lively theatrical experience in which imagination and spontaneity occupy a prominent position as a spectators pedagogy.

Orientador: Marcio Aurelio Pires de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T12:00:49Z (GMT). No. of bitstreams: 1 D'Abronzo_ThaisHelena_M.pdf: 13822273 bytes, checksum: 77a8dc9e522386cd8546fc5ed047a27a (MD5) Previous issue date: 2008 / Resumo: Este trabalho realiza uma reflexão sobre o processo de criação do espetáculo teatral intitulado Foi Tarde. Investiga alguns modos pelos quais a construção da imagem comparece em procedimentos de criação da cena teatral. Na construção do espetáculo, buscaram-se possíveis relações entre o Teatro da Morte (1975-1990) de Tadeusz Kantor e o texto dramatúrgico A Morta (1937) de Oswald de Andrade, principalmente quanto à "presença da morte" como condução poética. Um terceiro material a somar-se nesta relação viria a ser "o aspecto de exposição à morte em um ambiente hospitalar". À estruturação da cena pelas vias da imagem e à colisão dos materiais do processo criativo chamou-se, neste estudo, de artifícios da morte. No desenvolvimento, ocorre a descrição do processo criativo, e são apresentados o memorial e a escritura do espetáculo. O trabalho com as poéticas de Tadeusz Kantor e Oswald de Andrade solicitou uma abordagem sobre a relação entre o texto dramático e a escritura cênica, a partir do embate iniciado no final do séc. XIX e início do séc. XX. Para tanto, fez-se necessário o resgate de informações sobre o movimento simbolista e sobre as vanguardas históricas, como precursores de novos comportamentos artísticos e de paradigmas de construção teatral e dramática para o século XX e para a atualidade. Por fim, entende-se, que Tadeusz Kantor e Oswald de Andrade revelam, em seus trabalhos, influências e divergências com o simbolismo e com as vanguardas históricas, em nome de uma poética caracterizada pela presença da morte e pela autonomia da cena teatral pelas vias da imagem. Esta reflexão embasa, portanto, a poética de construção do espetáculo Foi Tarde, apresentado publicamente em montagem consonante aos princípios estéticos pretendidos / Abstract: This project accomplishes a reflection about the process of creation of the Foi Tarde (Gone Late) play. It investigates some ways trough which is present in procedures of the theatrical scene creation. In the construction of the spectacle, possible relation between the Teatro da Morte (Death Theatre) (1975-2000) of Tadeusz Kantor and the dramaturgic text A Morta (The Dead Woman)(1937) from Oswald de Andrade were searched, mainly about the "presence of the death" as a poetic conduction. A third material to be added to this relation happened to be "the aspect of the exposition to death in a hospital environment". The structuring of the scenes through the image pathways, and the collision of the materials of the creative process were called, in this project, death artifices. In the development, happens the description of the creative process, and are presented the memorial and the script of the spectacle. The work with Tadeusz Kantor and Oswald de Andrade poetics demanded an approach about the relation between the dramatic text and the performing arts scripts, from the clash started in the end of the XIX Century and early XX Century. For it, the rescue of the information about the symbolist movement and about the historical vanguard were made necessary, as precursors of new artistic behaviors and of paradigms of theatric and dramatic constructions for the XX Century and for the present time. At last, it is understood, that Tadeusz Kantor and Oswald de Andrade reveal, in their works, influences and divergences with the symbolism and with the historical vanguards, in the name of a poetics characterized by the presence of death and by the autonomy of the theatric scene through the image pathways. This reflection sustains, hence, the poetic of construction of the spectacle Foi Tarde(Gone Late), presented publicly in an assembling corresponding to the intended aesthetics principles / Mestrado / Mestre em Artes

Orientador: Antonio Fernando da Conceição Passos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:46:31Z (GMT). No. of bitstreams: 1 Barros_Valdenira_D.pdf: 16877377 bytes, checksum: d2f9a2eaeefaaef528ea164f85ad5b55 (MD5) Previous issue date: 2012 / Resumo: Esta tese tem como principal objetivo fazer uma reflexão sobre o processo de criação cinematográfica em torno da realização do filme O Sol Sangra, documentário que aborda as memórias de viajantes do trem de Carajás, que circula pelo norte do Brasil. É nossa intenção aprofundarmos o entendimento do cinema como um espaço de lembrança, de memória, de encontro de temporalidades e subjetividades tendo como base a experiência de elaboração desse filme / Abstract: This thesis has as its main objective to make a reflection on the process of cinematographic creation around the making of the film The sun bleeds, a documentary that deals with the Carajás railroad's train travelers memories, which runsthrough northernBrazil. It is our intention to deepen the understanding of the cinema as a place of remembrance, of memory, of meeting of temporalities and subjectivities based on the experience of making the film / Doutorado / Multimeios / Doutora em Multimeios

A roda de capuêra angola, em sua multiplicidade de significados, inaugura, a cada novo grito de Iê, a cada nova ladainha, a cada novo apertar de mãos aos pés do berimbau, um espaço no qual tudo o que já foi, todo legado ancestral da capuêra, se atualiza, com nuances sutis ou transformações surpreendentes, na fricção com o agora, com os corpos, vozes e a energia vital dos capuêras que vivem tal arte. Na prática e cultivo desta arte convivem uma espécie de culto dirigido simultaneamente ao que foi legado por mestres do passado, à tradição, na forma de cantos, toques e movimentos corporais e ao que é criado e recriado nos improvisos que emergem da experiência de cada nova roda. Nesta capuêra angola, com a qual tomei contato a partir de pesquisa de campo realizada ao longo de quase quatro anos junto a Associação Cultural de Capuêra Angola Paraguassu criada por mestre Jaime de Mar Grande, as conotações de acervo e transmissão de conhecimento carregadas pelo termo tradição se equilibram e articulam com processos de ordem mais emergente e improvisacional. No primeiro capítulo analiso o processo de produção corporal e preparo para o improviso que se dá nos treinos cotidianos, sobre como encontrar a sua capuêra. No segundo, seguindo as linhas melódicas e variações dos cantadores, volto minha atenção aos desdobramentos surpreendentes que ocorrem no calor da ação nas rodas. No terceiro e último capítulo, busco pensar a forma como a capuêra torna-se a vida dos capueristas e suas vidas tornam-se e dão feições particulares à capuêra que praticam e insinuam a seus alunos. O conceito de experiência, nas fronteiras do pensamento de Walter Benjamin, Victor Turner e Tim Ingold é uma batida constante que atravessa todo o trabalho. / The Capuêra Angola roda, in its multiplicity of meanings, opens, every time someone exclaims \"Iê\", in every ladainha, in every shake of hands at the foot of the berimbau a space in which all that has already been, all ancestral legacy of capuêra, is updated, with subtle nuances or striking changes in friction with the present, the bodies, the voices and the vital energy of the living capueristas. The practice of this art is marked by a cult oriented simultaneously to the old mestres legacy and the tradition in the form of songs, beats, gestures and body movements and to that which is created and recreated in the improvisations that emerge from the experience of each new roda. In this capuêra Angola, with which I made contact from field research conducted over nearly four years with the Cultural Association Capuêra Angola Paraguassu created by mestre Jaime de Mar Grande, the connotations of collection and transmission of knowledge carried by the term \"tradition\" are balanced and articulated with other processes with more emergent and improvisational features. The first chapter analyses the body\'s production process and the preparation for improvisation that happens in everyday practice, or how to find your own capuêra. In the second, following the melodic lines and variations of the cantadores, the attention is turned to the amazing developments that occur in the heat of action on the rodas. The third and final chapter try to think how capuêra becomes the life of capueristas and their lives, merging with capuêra, becomes and gives special features to the capuêra they practice and teach to their students. The concept of experience, on the borders of the thought of Walter Benjamin, Victor Turner and Tim Ingold, is a constant beat that sounds through out the work.