Zugl.: Hamburg, Univ., Diss.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by William Carroll; submitted to the School of Music. Title from PDF t.p. (viewed Jun. 8, 2010). Includes bibliographical references (p. 19-21).

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center

Thesis--Universität Hamburg. / Includes bibliographical references.

xiii, 177 p. A print copy of this title is available through the UO Libraries. Search the library catalog for the location and call number. / Marketing Planning is the most prescribed tool for "doing" marketing. The marketing plan's implementation schedule provides a roadmap for accomplishing a firm's stated marketing objectives. For over three decades researchers have investigated planning's link to firm performance. The consensus has been that they do improve performance although there is little empirical evidence to suggest how implementation of those plans is related. Environmental turbulence, new information and failed implementation cause firms to act outside of the planning framework. Improvisation is the contemporaneous creation and execution of an action. The extent to which firms act improvisationally has been studied, but to date there has been no empirical investigation that exposes the different types of post plan improvisations of strategic marketing plans that exist. This dissertation attempts to identify the different types of post plan improvisations (PPI) used in marketing. Using the Critical Incident Technique, 384 incidents of PPI were gathered from marketing planners and then used to create categories and systematically classify each incident. Four primary categories of causes of deviations, six categories of deviations and four categories of outcomes emerged from the data. The results provide a foundation for a theoretical model of the types of post plan improvisations in practice. This will allow further research into contextual differences that could help managers decide when to improvise and when to follow their plan. Further, by exposing the useful application of the CIT method in a new field, additional researchers might begin to use the technique to update and more deeply understand other marketing phenomenon. / Adviser: David M. Boush

The dissertation focuses on Joe Lovano's utilization of thematic material in relation to "Misterioso" by Thelonius Monk. Thematicism is defined more broadly in this study to include reference to the form, phrase structure, and harmony of "Misterioso". Methodological models provided by Gary Potter, Henry Martin, and Paul Hindemith serve as points of departure for this study which focuses on four areas: 1) phrasing, 2) step progression, 3) motives and formulas, and 4) harmonic implications. Thematic relationships are discovered through the analysis of the transcription of Lovano's improvisation; the four levels of the analysis work together and also independent of one another to produce a kind of thematic counterpoint. This study also examines how Lovano creates an effective solo. The study will be of benefit to students, professional musicians, pedagogues, theorists, musicologists, and jazz aficionados.

This study compared the effects from the use of aural and notated exercises as pedagogical procedures for teaching harmonic accuracy to beginning jazz improvisation students. The methods of pedagogy were identified from published pedagogic and historical sources, the results of oral and written traditions of jazz pedagogy. The performance objective was produced from a review of the related literature as a recognized and measurable characteristic of jazz improvisation. The purpose of this study was to compare measurements of harmonic accuracy, following the use of notated and aural exercises as experimental procedures of jazz improvisation pedagogy. A lesson plan, materials, curriculum and outline were developed followed by student recruitment and participation. A total of 20 student volunteers participated in the methods of pedagogy (aural or notation). Data collection consisted of a musical background questionnaire and pre and posttest performance recordings. Student recordings were evaluated by six judges using the “experimental performance evaluation measure.” Statistical analyses were conducted, including comparisons of pre to posttest effects between, and among the methods of pedagogy. Although all student participants performed mostly from notated music prior to this study, students who received the aural method of pedagogy produced greater improvement for all measurement items. While the aural method produced no differences between grade level, the notation method produced significantly lower scores for 9th graders compared to 12th graders; no other significant grade level differences were noted. Conclusions were that although many sources of pedagogy do not include aural exercises as the predominate activity, beginning improvisers who have more experience reading music than playing by ear, learn better from aural, than notated exercises.

Inom jazzmusiken är improvisation ett viktigt inslag. Hur kommer det sig att en improvisatör spelar som den gör? I Sverige examineras varje år nya sångpedagoger såväl som andra instrumentpedagoger. Sångpedagogen och trumpetpedagogen har flera saker gemensamt när det gäller hur deras instrument fungerar och därför vill jag undersöka skillnader och likheter mellan hur de olika pedagogerna förhåller sig till improvisation. Syftet med uppsatsen är att ta reda på hur sångpedagoger och trumpetpedagoger ser på jazzimprovisation i undervisningen. De två huvudsakliga frågeställningarna är: Vilka beståndsdelar och moment anser de olika pedagogerna är viktiga när de undervisar i improvisation? Hur ser pedagogerna på bruket av läromedel när det gäller improvisation? Data samlades in genom semistrukturerad intervju. Den kvalitativa datan kategoriserades därefter genom kvalitativ analys och presenterades under olika teman som korrelerar med uppsatsens syfte. Resultatet visar på både likheter och skillnader när det gäller de olika pedagogernas syn på improvisation. De två sångpedagogerna visade sig vara samstämmiga i en del av svaren. På frågan om läromedel visade det sig att sångpedagogerna bland annat använde sig av samma bok för jazzimprovisation medan trumpetpedagogen använde sig av egenkomponerade övningar i kombination med en webbsida för jazzstandards och Youtube-videor med improvisationsmaterial. Pedagogernas tankar kring och syn på improvisation i undervisningen kan bidraga till den samlade synen på improvisation i musikundervisningen. De intervjuade pedagogerna ger bland annat exempel på hur de jobbar metodiskt med att spela fyrklanger över ackord, hur man kan använda Youtube och andra källor på internet i sin undervisning och vikten av att eleven känner sig trygg när det kommer till att improvisera.

The purpose of the study was to develop and evaluate a comprehensive first semester college jazz improvisation curriculum. Specific problems concerning the evaluation of the curriculum were, (a) to assess achievement in music theory fundamentals, (b) to assess achievement in jazz listening, (c) to assess improvement in jazz improvisation performance, (d) to assess student attitudes toward jazz improvisation and the curriculum. Based on the findings, the conclusions were as follows students benefited from the study of jazz improvisation, utilizing the developed curriculum, in the areas of, (1) knowledge of music fundamentals, namely, chord spelling, scale spelling and harmonic analysis; (2) identification of jazz tunes, composers, musical forms and prominent jazz performers; (3) improvisation performance in a jazz style, and (4) positive attitude toward improvement in jazz improvisation.

I den här undersökningen har jag fördjupat mig i fri improvisation utifrån ensemble med instruktioner skrivna på förhand. Med hjälp av egenproducerade instruktioner och slump har fyra musikstycken skapats i realtid i syfte att undersöka impulser och upplevelser på min och ensemblens musikaliska, praktika och konstnärliga val inom fri improvisation. De fyra styckena har haft olika antal instruktioner som utgångspunkter som har jämförts med varandra. Arbetet har resulterat i nya insikter om mig själv som improvisatör som har utökat mitt vokabulär, gett ett bredare spektrum av interaktion och en djupare förståelse för fri improvisation i allmänhet, vilket gör mig positiv att fortsätta söka och utvecklas inom genren och ”det okända.”