The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.

The diploma thesis is focused on the development of interpretation of violin playing at the advanced level at music schools. The aim of the thesis is to go through different periods of music development and to deepen the quality of means of reproduction and develop basic principles of interpretation in advanced students on the basis of several selected compositions. Another objective is to handle the practising process of each composition creatively. The work is oriented practically and may become useful for violin teachers and advanced students. The problems connected with violin playing are treated from the point of view of performance. The teaching process goes from imagination to realization where the technical skills are means for the realization of imagination and, simultaneously, the final performance is a great deal influenced by the player's technical skills. Also, the possibilities how to develop musical imagination and accomplish successful realization of the process mentioned above are discussed. The central themes of the thesis are the development of interpretation of violin playing and the problems connected with it, both theoretical and practical. A scheme for the teaching process is defined and the possible ways of application of the scheme during practice are shown on examples of...

Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.

<p>Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.</p>

Vienos svarbiausių šių dienų švietimo kaitos sąlygų – kūrybiškas tinkamų užduočių pateikimas mokykloje, naujų mokymo(si) santykių ir pedagoginės veiklos formų paieška bei ugdytinių kompetencijų ugdymas(is) ir plėtojimas. Improvizacija būdinga liaudies kūrybai bei kai kurioms profesionalioms meno šakoms: muzikai, poezijai, teatrui. Muzikos improvizacija gali būti fiksuojama garso įrašu, bet negali būti pakartota. Magistro darbo „Muzikinės improvizacijos naudojimo ypatumai 5–8 progimnazijos klasių neformaliajame švietime“ tikslas – ištirti 5–8 progimnazijos klasių muzikinės improvizacijos naudojimo neformaliajame švietime ypatumus. Šiam tikslui pasiekti buvo iškelti šie uždaviniai: atskleisti muzikinės improvizacijos ir neformaliojo švietimo sintezės problematiką; išsiaiškinti mokinių ir mokytojų požiūrį į muzikinę improvizaciją; ištirti muzikinės improvizacijos naudojimo ypatumus neformaliojo švietimo veikloje; nustatyti moderniųjų technologijų naudojimą improvizuojant. Tyrimo objekas – muzikinės improvizacijos naudojimas neformaliajame švietime. Tyrimas buvo vykdytas III etapais: I etapas – anketinė mokytojų ir mokinių apklausa. Anketa muzikos mokytojams buvo siekiama išsiaiškinti mokytojų požiūrį į muzikinės improvizacijos naudojimą neformaliajame švietime. Mokytojų apklausoje dalyvavo 17 Vilniaus mieto progimnazijose neformaliajai veiklai vadovaujančių mokytojų. Anketa, skirta neformaliąja muzikine veikla užimtiems mokiniams, buvo siekta surinkti informaciją, kurią... [toliau žr. visą tekstą] / Some of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]

This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition. / text