Thesis (Ph. D.)--UCLA, 2010. / Vita. Includes bibliographical references (leaves 296-303).

Thesis (M.A.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 26, 2007) Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.

This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, 'difficult' and idiosyncratic art form. Whilst on the surface Improvised Music might appear chaotic and beyond analysis in conventional terms, I show that, just like any other music, Improvised Music has its own genre-specific conventions, structures and expectations, and this research investigates its specific modes of performance, listening and appreciation - including the need to distinguish between 'musical' and 'processual' improvisatory outcomes, to differentiate between different 'levels' of improvising, and to separate the group and personal levels of the improvisatory process. I define improvised practices within this ifeld as variable combinations of 'composed' (pre-planned) and 'improvised' (real-time) elements, and examine the specific definitions of 'risk', 'honesty', 'trust', and 'good' and `bad' music-making which mediate these choices - these distinctions and evaluatory frameworks leading to a set of proposed conventions and distinctions for Improvised Music listening and production. This study looks at the representation of identity by improvising musicians, the use of social and political models as analogies for the improvisatory process (including the interplay between personal freedom of expression and the construction of coherent collective outcomes), and also examines the multiple functions of recording, in a music that was ostensibly only meant for the moment of its creation. All of this serves to address several popular misconceptions concerning Improvised Music, and does so directly from the point of view of a large sample of its most important practitioners and connoisseurs. Such findings provide key insights into the appreciation and understanding of Improvised Music itself (both for newcomers and those already adept in its ways), and this thesis offers important suggestions for scholars of Musicology, Ethnomusicology, Sociology of Music, Improvisation Studies, Performance Studies and Music/Cognitive Psychology, as well as for those concerned with improvisation and creativity in more general, non-musical, terms.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T19:03:29Z (GMT). No. of bitstreams: 1 Berton_CesarGabriel_M.pdf: 1112284 bytes, checksum: 685219d6957f184b52260e1aa6179240 (MD5) Previous issue date: 2005 / Resumo: Esta pesquisa sugere uma técnica de análise e composição não tradicional, passível de sistematização, aplicada à música popular. A organização desta foi baseada nas relações de tensão & resolução obtidas quando as alturas de uma melodia são comparadas com as da harmonia que as acompanha. A resultante da quantidade de notas não coincidentes entre estes dois objetos gera níveis de tensão que são arbitrados em uma forma lógica e coerente. Identificar centros onde cada um dos complexos gravita é o passo inicial do processo. Essa identificação é sugerida pela soma das principais notas destes, que resultam em uma fonte escalar. Estipulando unidades melódicas definidas, a tese sugere que seja possível arbitrar uma ferramenta em que a manipulação das alturas musicais destas, quando aplicadas sobre cada grau da fonte escalar, gera movimentos cadenciais. Elaborado seguindo uma ordem crescente, este trabalho arbitra a conceituação dos parâmetros desde uma análise intervalar até a sugestão de arbitragens obtidas pelo contorno melódico de uma peça. Dada a originalidade do assunto, esta pesquisa extraiu, do vocabulário musical já existente, os conceitos para essa elaboração. Visto que somente a definição da ferramenta já é um objeto de estudo considerável, a conceituação prática desta não foi abordada / Mestrado / Musica / Mestre em Música

Um den Inhalt von Musik ausfindig zu machen, spielt ihre Gattungszugehörigkeit eine große Rolle. Dieses Gebiet ist in der Musikwissenschaft jedoch weniger erforscht als z. B. die Harmonie- oder Formenlehre. Von Interesse scheinen mir dabei insbesondere die Gattungen der Unterhaltungsmusik (Lieder, Tänze, Märsche) und verwandte Bereiche zu sein.

No description available.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.

Thesis (M.A.)--Cincinnati Christian University, 2009. / Includes abstract and vita. Bibliography: l. 134-140.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.