This paper investigates the relationship between error and choice in jazz improvisation. In the first of four complementary chapters, key terms (e.g. error, jazz, improvisation) are defined within the context of this dissertation. Next, a series of original interchangeable exercises for musical improvisation are annotated. These exercises are discussed within a jazz-specific framework, however they are easily adaptable to a wide range of improvisational settings. Chapter Three details the effectiveness of these exercises in several case studies. Issues surrounding listening, interaction, error, and choice are examined. Finally, avenues for future study are considered, in particular a reframing of error within the process of jazz improvisation.

This paper investigates the relationship between error and choice in jazz improvisation. In the first of four complementary chapters, key terms (e.g. error, jazz, improvisation) are defined within the context of this dissertation. Next, a series of original interchangeable exercises for musical improvisation are annotated. These exercises are discussed within a jazz-specific framework, however they are easily adaptable to a wide range of improvisational settings. Chapter Three details the effectiveness of these exercises in several case studies. Issues surrounding listening, interaction, error, and choice are examined. Finally, avenues for future study are considered, in particular a reframing of error within the process of jazz improvisation.

In this thesis, the author claims that dance (especially improvisational dance) is a political practice. Rather than following the familiar trope, where the dancing body stands in as a figure of liberation, the author draws on theorists such as Michel Foucault, Pierre Klossowski, and Judith Butler to suggest that bodies in motion are partially determined though discipline, coded language, and norms of sex and gender. Citing empirical cases of dance performances and the author’s own practice, she suggests that the body in motion is also partially undetermined by cultural conventions. She extrapolates from the example of dance improvisation, where the dancer begins with a norm or loose choreography and, from there, moves into unexpected territory, to offer an alternative conception of the body. The author argues that bodies in motion move between extremes of structure and freedom. / Graduate

This research into Brazilian music in general, and choro guitar music in particular, focuses primarily on the various and contrasting ways in which the repertoire is interpreted by Brazilian choro musicians, classical guitarists and jazz guitarists. Socio-cultural traditions and conventions are also explored. An important facet of performance in the Brazilian tradition is improvisation. The appropriateness of various improvisational approaches, including those used in jazz, are discussed. The research incorporates two 60-minute recitals, one of traditional Brazilian choro and the other of different Brazilian styles played in a jazz group setting, and these are central to the following exegesis. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Hochsch. der Künste, Diss., 2006--Berlin. / Dateiformat: tgz, Dateien im PDF-Format.

Zugl.: Berlin, Univ. der Künste, veränd. Diss., 2006

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--New York University, 1982. / Includes bibliographical references (p. [158]-165). Also issued in print.

Thesis (PhD) -- AUT University, 2007. / Includes bibliographical references. Also held in print (553 p. ; 30 cm.) in the Archive at the City Campus (T 616.891523 DAY)

Thesis (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.