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Significations de l'improvisation, le rapport à soi dans le jeu musical / Significations of improvisation, self-appreciation in musical playIkor, Tristan 03 December 2014 (has links)
Quel est le sens de ce geste, finalement assez étrange, qui consiste à vouloir (s') improviser en musique, jusqu'à vouloir se montrer improvisant ? C'est en résonnant de grand air que ses significations raisonnent, et qui s'abordent aussi en sabordant. Ici, le complexe d'identité dans son entier est bouleversé, comme mis à vif dans un amour du son délesté de musique : l'urgence s'éprouve au plus fin, sur la crête d'un temps prêt à tout moment à s'évaporer en une immédiateté aussi foncièrement nouvelle qu'ancestrale. Le spectacle d'improvisation apparaît dès lors comme une sorte de lieu de jonction entre la fête sacrée et l'intimité d'un art brut. À la rencontre de l'autre pourtant dénié, le rapport à soi de l'improvisateur en jeu retrouve sa mondanéité propre et son originalité souveraine. / Why does someone want to improvise (by) music, and even show himself improvising ? Meanings of improvisation appear by resounding to wild life, and need destruction to be sensed. Here, the overall identity is shattered, sublimed in a love for sound without music. Improviser feels the urge, when time is ready to disappear in a new and ancestral immediacy. In this way, improvisation's show is like a confluence of sacred celebration and naive art. At the encounter of the one yet denied, the improviser's self-appreciation finds its own worldhood and its sovereign originality.
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Improvisation(s) solo au piano : Keith Jarrett (the Köln concert) : mouvement(s) et frontière(s)Barakat, Alexandra 10 January 2015 (has links)
Nous avons appréhendé Köln Concert comme une sorte de symptôme. Il présente à l’analyse un ensemble de caractéristiques rarement coprésentes. C’est en ce sens une œuvre utile, prétexte à évaluer des phénomènes parfois contradictoires, du moins qu’on a l’habitude d’opposer (composé/improvisé, écrit/oral, savante/populaire). Enregistré à l’opéra de Cologne en 1975, par Keith Jarrett, il représente une vente record dans l’histoire du jazz, à cheval entre deux époques, comme le basculement dans l’ère post-moderne, qui traduit l’existence d’un flou esthétique, d’un état intermédiaire où la notion d’œuvre même paraît peu pertinente. Cette musique, improvisée du début à la fin, ne semble pourtant pas appartenir au « free jazz », ni même vraiment au jazz et évoque à l’écoute un récital « néo-romantique ». Nous nous sommes attachée à en suivre le cheminement, associant l’écoute et l’analyse critique de sa transcription (publiée en 1981). Elle ne relève pas d’une forme dominante : de formes nous ne trouvons qu’ébauches, segments; c’est une œuvre « ouverte », au sens d’une action en relation directe avec son public. Dans cette dramaturgie musicale, on reconnaît les effets d’une rhétorique – au sens de la Grèce antique – et un travail de la mémoire, évoquant l’ars memoria. Par sa grande culture musicale « classique », ses longues années d’étude précédant sa carrière de jazzman, Keith Jarrett occupe une position à part, marquée par la relation inédite entre une maison de disques européenne (ECM) et un musicien, achevant de brouiller les frontières entre les genres et les localisations esthétiques. Köln Concert acquiert ainsi une dimension anthropologique riche en enseignements. / Köln Concert is a useful instrument to compare and articulate contradictory or opposite elements on conceptual sides (composed/improvised, written/oral, savant/popular). Recorded in 1975, this solo performance is the biggest record sale in jazz music. It was published at the very beginning of the post-modernism era in music and belongs to a new aesthetical field, not defined by such notions as « opus » or « work ». This music, totally improvised, can’t be defined as jazz or « free jazz » or « contemporay music », for example, nor « neo-classical music », even if it could sound like some neo-romantic recital. Through a critical analysis of the transcription (published in 1991), we tried to describe the music as an action. Köln Concert has no overall shape, no total structure, just fragmentary forms. It’s an opened work directly connected to an audience. His musical dramaturgy has a rhetorical dimension, as it can be perceived through ancient Greek culture and ars memoria in general. Thanks to his great musical culture, including jazz and classical music, Jarrett is out of categories. American artist. associated with an European record company (ECM) and to his new aesthetical conceptions of the sound, he belongs to a new world of aesthetics. We consider Köln Concert as a kind of musical symptom, not because of the quality of the music (which can always be discussed) but because this type of musical action can be analysed as a concrete utopia, made to explore cognitive processes and develop a new vision of anthropology.
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Du har lärt mig att lyssna : En undersökning av genomsläpplighet i kompositionFlick, Birgitta January 2020 (has links)
<p>Partitur av alla delar av LYSSNA och arrangemang av mässans psalmer finns bifogade som bilagorna A1-12.</p><p>Ljudinspelningarna från uruppförandet utgör bilagorna B1-10.</p><p>Se bilaga C för länkar till videorna och vidare information om uruppförandet och samarbetsprojektet som initierades av ESAIM projektet på KMH.</p>
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The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation AchievementDavison, Patrick Dru 12 1900 (has links)
The first purpose of this study was to investigate whether different modeling conditions (Aural and Aural/Notated Transcription) produced significant differences for improvisation achievement. Another purpose was to investigate whether music learning theory-based improvisation instruction had an effect on students' self-efficacy for improvisation and for instrumental music. Participants (N = 76) from an accessible population of 6th through 8th grade instrumental music students were assigned to either an aural model group or an aural and notated transcription model group based on scores from Gordon's Harmonic and Rhythmic Readiness Records (1998). All students were administered two researcher-designed self-efficacy scales before and after a 10 treatment session music learning theory-based improvisation instruction. Following the treatment sessions, each participant was individually recorded and assessed by three experienced music educators. The posttest improvisation scores were subjected to an ANOVA, while the pretest to posttest scores of the students' self-efficacies for music improvisation and instrumental music were subjected to two repeated measures ANOVAs. The Bonferroni technique was used to adjust the alpha level from .05 to .017. The statistical analysis showed that there was no significant difference in improvisation achievement for the modeling conditions of aural and aural/notated transcription. Further statistical analyses showed there were significant increases in students' self-efficacy for improvising and for instrumental music following improvisation instruction. This study's results suggest that music educators should consider using either modeling technique for improvisation learning experiences. Results also suggest that music educators may wish to consider using a music learning theory-based improvisation approach to facilitate greater confidence in improvising. Additionally, results suggest that classroom music educators may wish to consider improvisation instruction as a means for achieving greater student confidence in instrumental music. This study concludes with issues for further study.
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The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised SolosLington, Aaron Joseph 08 1900 (has links)
Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.
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Improvisation vs (meta)règles : effets sur la fiabilité d'une organisation hautement fiable : le cas d'une équipe passerelle dans la Marine nationale / Improvisation vs (meta)rules : effects on the reliability of a High Reliable Organization : the case of a bridegteam in the French Navy.Gaultier Le Bris, Sophie 26 May 2014 (has links)
Quels sont les modes de réponses les plus adaptés au traitement de l’inattendu et sous contrainte de temps pour maintenir ou renforcer la fiabilité organisationnelle ? Les travaux du courant HRO (High Reliability Organization) et du courant actionniste convergent sur le fait que l’individu constitue une source de fiabilité. Ils divergent néanmoins sur l’importance donnée au respect des règles face aux évènements imprévus. Afin d’analyser les comportements d’adaptation d’individus au sein d’un groupe restreint face à des situations à risques et inattendues sous contrainte de temps, l’attention est portée sur l’étude de situations nautiques vécues par des bâtiments de surface de la Marine nationale. Une première approche qualitative menée auprès d’experts du terrain étudié complétée par une approche quantitative réalisée à partir de 237 situations nautiques font ressortir les configurations à risques à l’origine d’accidents nautiques. Ces informations nous permettent de soumettre des équipes de quart passerelle à des situations à risques, dans le cadre d’une expérimentation, au moyen du simulateur de navigation de l’Ecole navale, école de formation des officiers de la Marine nationale. Les comportements de 96 équipes de quart passerelle, en formation initiale, sur le simulateur de navigation permettent de tester, selon les différentes situations, les réponses associées : improvisation de procédure, recours aux règles avec ou non l’usage de méta règles. Les résultats de l’expérimentation soulignent l’intérêt des méta règles dans le traitement des situations à haut niveau de complexité et nécessitant d’agir rapidement mais aussi les risques d’une improvisation non cadrée. / What are the best types of answers given by a 4-member team of the French Navy without expertise in unexpected situations under time pressure in order to maintain or to increase organizational reliability ? HRO researchers agree with Interactionists on the fact that human beings can be considered as a reliability factor. Nevertheless, they disagree on one point: the need to respect the rules or not in unexpected events. A first qualitative study completed by a quantitative one (based on 237 nautical situations), emphasize different types of risk situations, responsible for accidents. Thanks to this data, an experiment based on the behavioral observations of 96 bridge-teams is set up on the simulator of the French Naval Academy, which trains all future officers of the French Navy. The aim of this work is to test different proposals of variables using either improvisation or rules, with or without meta rules. Results show that firstly, thanks to meta rules, the level of reliability is higher in high level complex situations under time pressure and secondly, results underline the risk of an improvised action without guidelines
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Komposition och improvisation utifrån ett retoriskt och musikpsykologiskt perspektiv : En musikalisk gestaltning kring mysteriet om Maglesten.Karström, Amanda January 2022 (has links)
Music has the power to elicit feelings amongst us, and it is something that has always astonished me. In my thesis, I have applied it to improvisation by working transdisciplinary based on these questions: How can I portray the different feelings of a story and get the ensemble involved by using collective improvisation? How do I lead the musical narrative based on my role as composer/bandleader and bassist? By taking the dramaturgy from a story that will decide the whole form of the concert, I have composed music by applying concepts from the doctrine of rhetoric topos and the psychology of music. The music was then performed in a concert with a band of six musicians, where we collectively portrayed the story with the written music and improvisation. The goal was to create an environment for collective improvisation where the focus was to portray different sentiments and, in the end, this work revealed a new way of thinking about and approaching improvisation for me. It also showed how much I value communication and interplay in an ensemble and how it can affect the music in a positive way. / <p>Kompositör: Amanda Karström</p><p>Medverkande: Amanda Karström - Kontrabas</p><p>Filip Öhman - Trummor</p><p>Alexander Falkebring - Vibrafon</p><p>Ima Baeza Bilgin - Piano och Synthesizer</p><p>Erik Hasselfeldt - Altsaxofon och klarinett</p><p>Björgvin Hjálmarsson - Tenorsaxofon och basklarinett</p>
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Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext / Feeling the improvisation or improvising the feeling : Practicing improvisation in an historical western musical contextSvanström, Oscar January 2021 (has links)
Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet. / This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.
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Gitarr och elektroniska verktyg : Hur man, som sologitarrist, kan skapa en musikalisk helhet med elektroniska verktygAndersson, Arvid January 2022 (has links)
This study seeks to explore the opportunities and boundaries of creating music as a solo guitarist with different electronic tools. These tools refer to samples, loops, and effects. Furthermore, this study aims to discover the opportunities existing in Logic Pro X for creating more randomized music. To achieve this, I use different samplers and MIDI-plugins and explore the different ways to bring forward the improvisational element in these. I also investigate how, and if, the use of samples and loops have an influence on my improvisations and compositions. The result of this study is a self-composed suite, consisting of three parts. In these three parts, I use all the techniques and methods I assembled over the course of this study. The study concludes that the use of samples, loops and effects had a notably influence on my compositions and improvisations. My compositions took a more unconventional form of composing, the use of graphical charts, and my improvisations became somewhat notably influenced by the effects being used or the samples being played. I also discovered different ways and techniques to modify, manipulate and randomize sounds using Logic Pro X. / <p>Arvid Andersson, elgitarr</p><p><em>Kaoset </em>- Arvid Andersson</p><p><em>Viskningarna </em>- Arvid Andersson</p><p><em>Hemmet</em> - Arvid Andersson</p><p></p>
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Unifying concerns and entente : locating and pursuing the idiomaticity of free improvisation / Préoccupations unificatrices et "entente" : Situer et retracer l'idiomaticité de l'improvisation libreBourgeois, André Louis 19 January 2017 (has links)
Cette thèse étudie la question de l'idiomaticité dans la pratique musicale de l'improvisation libre. Notre enquête débute avec une discussion sur les difficultés qu'implique toute tentative de délimiter cette activité ou de la définir en termes positifs. En effet, le produit d'une performance improvisée émerge au moment de la prestation et s'évanouit immédiatement. Ce fait a poussé de nombreux musiciens et chercheurs à classer cette pratique comme étant « non-idiomatique » (et donc comme étant résistante à l'analyse sémiotique), une désignation qui a été popularisée par Derek Bailey dans son oeuvre pionnière Improvisation. Cependant, malgré son apparent caractère insaisissable, le genre a été capable de subsister depuis plusieurs décennies et continue a se propager à de nouvelles scènes musicales à travers le monde, supporté par un ensemble relativement consistant de préoccupations idéologiques et esthétiques quiunissent et habilitent ses praticiens et admirateurs. En utilisant un modèle sémiotique triadique dans la tradition de C.S. Peirce et en considérant les différents aspects de l'improvisation libre à la lumière de sa théorie des catégories, nous sommes capables d'élaborer une analyse sémiotique des aspects émergents/évanescents de l'improvisation libre, ainsi que de ses propriétés plus durables/idiomatiques. L'improvisation libre n'est pas du tout, comme aiment l'affirmercertains, libre de toutes conventions. Un des accomplissements de cette thèse est de déconstruire de mythe de la non-idiomaticité de l'improvisation libre et de démontrer que les engagements idiomatiques particuliers de cette pratique ont tout simplement été déplacés, abandonnant pour la plupart les idiomes formels (tels des approches génériques, codifiées et reconnaissables à la tonalité et au rythme) pour privilégier des codes de conduite qui rendent l'activité cohérente et signifiante à ses participants. Les témoignages d'improvisateurs révèlent qu'ils sont largement motivés par des préoccupations et principes similaires. Quant à la valeur momentanée reconnue de n'importe quel aspect formel d'une performance improvisée, c'est grâce à l'implémentation soudaine de conventions localisées et habituellement de trèscourte durée (que nous appelons « entente ») que les musiciens arrivent à cette reconnaissance mutuelle (mais toujours contingente). Les improvisateurs tendent à vouloir déconstruire ces conventions formelle émergentes assez rapidement. Ils comptent ne laisser aucun engagement formel se solidifier au delà d'un certain caractère liminaire qu'ils jugent désirable dans le cadre de leur activité. Finalement, n'importe quel indicateur pour mesurer le succès d'une performance improvisée doit se référer soit aux principes unificateurs qui soutendent la pratique et représentent le coeur de sonidiomaticité, soit aux exigences momentanées imposées par l'entente. / This thesis studies the question of idiomaticity in the musical practice of free improvisation. Our enquiry begins with a discussion on the difficulties of delineating this activity and of defining it in positive terms. The production of improvised performances indeed emerges at the moment of its delivery and is immediately fleeting. This has led many musicians and writers to classify the practice as "non-idiomatic" (and thus resistant to semiotic analysis), a designation popularized by Derek Bailey in his pioneering book Improvisation. Yet despite its apparent elusiveness, the genre has been able to endure for several decades and keeps spreading to new music scenes throughout the world, supported by relatively consistent ideological and aesthetic preoccupations that unify and enable its practitioners and fans. By using a triadic semiotic model in the tradition of C.S. Peirce and by considering the different aspects of free improvisation in the light of his theory of categories, we are able to give a semiotic account of both the emergent/evanescent and the enduring/idiomatic aspects of free improvisation. Free improvisation is not at all, as some would hope, free from all conventions. One of the accomplishments of this thesis is to deconstruct the myth of free improvisation's non-idiomaticity and demonstrate that the practice's particular idiomatic commitments have merely been shifted away from formal idioms (such as generically codified and recognizable approaches to tonality and rhythm) and onto codes of conduct that keep the activity coherent and significant for its participants. Musician testimonies reveal that the practices of free improvisers are indeed motivated by similar underlying concerns and principles. As for agreements on the momentary value of any of the improvised performance's formal aspects, they find mutual (if contingent) recognition through short-lived localized formal conventions that we call "entente". Improvisers, however, typically playfully deconstruct these emergent formal conventions rather expeditiously; they are intent on not letting any formal commitments solidify beyond a desired liminal capacity. In the end, any gauge for the success of an improvised performance must refer either to the underlying unifying principles that make up the core of its idiomaticity or to the momentary exigencies of entente.
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