Denna uppsats handlar om improvisation i fiolundervisning och om vad som avgör om fiollärare använder sig av improvisation i undervisningen eller ej. Tre fiollärare har intervjuats om sina tankar kring improvisation, om sin bakgrund och sin undervisning. Resultatet visar på att fiollärarnas bakgrund och de möjligheter de getts att improvisera som barn och ungdom har stor betydelse för om och hur de använder sig improvisation i sin undervisning.

"European Echoes: Jazz Experimentalism in Germany, 1950-1975" is a historical and interpretive study of jazz and improvised music in West and East Germany. "European Echoes" illuminates an important period in German jazz whose beginnings are commonly associated with the notion of Die Emanzipation ("The Emancipation"). Standard narratives of this period have portrayed Die Emanzipation as a process in which mid-1960s European jazz musicians came into their own by severing ties of influence to their African American musical forebears. I complicate this framing by arguing that engagement with black musical methods, concepts, and practices remained significant to the early years of German jazz experimentalism. Through a combination of oral histories, press reception, sound recordings, and archival research, I elucidate how local transpositions and adaptations of black musical methods, concepts, and practices in post-war Germany helped to create a prime site for contesting definitions of cultural, national, and ethnic identities across Europe. Using a case study approach, I focus on the lives and works of five of the foremost German jazz experimentalists: multi-reedist Peter Brötzmann, trumpeter and composer Manfred Schoof, pianist and composer Alexander von Schlippenbach, multi-reedist Ernst-Ludwig Petrowsky, and pianist Ulrich Gumpert. Furthermore, I discuss new music composer Bernd Alois Zimmermann's sustained engagement with African American musical forms in addition to the significance of both Schoof's and Schlippenbach's studies and various collaborations with him. The elucidation of the German jazz experimentalism movement is situated within the larger context of ther Cold War's competing West German capitalist and East German state socialist political systems and shows how music became a form of international politics and cultural diplomacy.

No description available.

The American auctioneer is an improvising musician whose practice both directs and is shaped by the actions of the bidding audience in a participatory musical performance. The rapid, often unintelligible chant of the auctioneer represents a sophisticated set of musical skills employed for the purpose of economic transaction. This dissertation examines the musical and improvisatory practices of the auction chant, or bid-call, through analysis of pitch, melodic structures, rhythm, and meter as functions of an oral formulaic and creative process. The study draws upon ethnographic, archival, linguistic, and cultural studies in order to assess the extent to which discrete musical characteristics of the chant serve the socio-economic purposes of the auction. Auctioneers' embedded musical and linguistic patterns are acquired through a practice-based pedagogical method and are treated flexibly such that the chant remains unpredictable and exciting to the listener. While the monotone chant serves as the foundation of the bid-call, auxiliary pitches (most often pentatonic or major scale subsets) offer melodic variety and function in a fulcrum relationship to the "hum." Likewise, auctioneers establish a "referential" meter wherein a single metrical organization of the pulse returns repeatedly, alternating with expansions or contractions of that fundamental meter. Listeners are entrained to expect musical consistency, but through disruptions of familiar musical patterns, the auctioneer focuses bidder attention on the chant rather than the realities of the economic transaction in progress. Ethnographic research with auctioneers throughout the United States and archival recordings of live auctions dating back to the 1940s reveal that many characteristics of chant practice are shared among auctioneers; however, stylistic practices vary based on sales type (livestock, real estate, agricultural equipment, estate, etc.). In all auction types, the bid-call offers a heightened emotional experience for the attendees and an opportunity for audience participation and musical agency.

Three prominent jazz trumpeters, who cite visual experiences of colors, shapes, contours, or transcription – elements not directly related to the aural information typically described in the improvisational process – were selected and interviewed for this study. Each subject was asked to describe their conscious processes and visual experiences while improvising, with emphasis on personal development, content and musical intent. Additionally, each subject selected a recorded improvised solo to be analyzed and discussed, comparing traditional musical analytical techniques to their corresponding visual experiences. Pedagogical elements related to jazz education and personal practice were also included.

Bilaga: 3 CD + 1 DVD

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Includes bibliographical references (leaves 275-277). Also available on the Internet.

Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 105-107).

Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains iii, 23 p. Includes abstract. Includes bibliographical references (p. 23).

Thesis (Ph. D.)--University of California, San Diego, 2009. / Title from 1st page of PDF file (viewed Feb. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes sound files of examples in 44K stereo. and 96K formats. Includes bibliographical references: P. 143.