Face à une crise de la planification avérée depuis plusieurs décennies, l'aménagement peine à renouveler ses méthodes et outils, ainsi qu'à relever le défi de l'action dans un monde incertain. Toutefois, impulsés par des formes de gouvernance inédites, des objets territoriaux non identifiés apparaissent, théâtres de modalités d'action et de territorialités qui échappent au cadre de la planification et à l'institutionnalisation. Le Pôle d'Orly, projet interdépartemental, en est un exemple. C'est en le suivant au quotidien pendant quatre ans, au Conseil général de l'Essonne, que cette thèse s'est construite autour de l'idée que l'improvisation peut éclairer la nature de l'action et du territoire en jeu et permettre de comprendre leur pertinence et leur efficacité propres. En élargissant l'enquête à l'ensemble des projets d'aménagement du CG, une trajectoire commune est apparue, dessinant les contours d'un modèle d'action improvisée. Ambiguïté, équivoque, indétermination et éphémère en sont des propriétés centrales. Caractérisée par une intentionnalité et une créativité partagées qui ne distinguent plus entre composition et exécution, l'improvisation s'appuie sur la construction du sens et des finalités dans le cours de l'action et rétrospectivement, issue de l'interaction entre leader et partenaires, joue avec un horizon d'attente et multiplie les effets latéraux. L'analyse des compétences déployées par les chefs de projet a par ailleurs permis d'identifier les bases d'une discipline de l'action improvisée. Celle-ci porte l'attention sur des qualités et des valeurs associées à l'écoute, la prévoyance, la confiance, l'engagement, dans une logique de don et de croyance, au cœur des échanges avec les partenaires et de l'engagement réciproque au service du projet. / Exposed to increasing levels of uncertainty, the planning model is facing a crisis that affects its theories as well as its methods and tools: it is now in need of renewal. In relation with varying structures of governance, some unidentified forms of territories appear, which support new methods of action and new identities. The “Pôle d'Orly”, initiated by two General councils, are among them. By working four years at the Essonne general council, I was able to approach this project from within and develop a new perspective in which improvisation can explain the nature of the territory and the action conducted, while also allowing to understand its relevance and its efficiency. By observing the other planning projects managed by the council, I have identified a common patterns and themes which characterize an improvisational action model. Ambiguity, equivocation, indeterminacy and ephemera are central components of this model. Generally considered in a pejorative way, I show how they are the key of sharing and compromising. Improvisation also allows sharing both the intention and the creativity guiding the project between all the partners (and, consequently, to not distinguish composition and execution activities). The meaning and finality of actions are ever-evolving, constantly adapting to the context and, as a result, goals and outcomes have to be sought indirectly. I also identified a set of skills and competencies developed by the project managers, which underlines a capacity to listen, to build trust, and to foster a special commitment within a logic of giving and belief, which are the foundation in the mutual exchange of dynamics between partners and guarantee their active contribution to the project.

Je considère deux pratiques « somatiques » nées dans le même contexte culturel des années 70 aux États-Unis, l'une héritière de la postmodern dance — le Contact Improvisation —, l'autre s'inscrivant dans le champ émergeant de l'Éducation Somatique — le Body-Mind Centering. Je m'intéresse à elles en tant qu'elles expérimentent des discours, des pratiques et des savoirs sur les rapports entre le corps et l'esprit, ou encore la « conscience corporelle ». À la croisée de l'anthropologie somatique et de la sociologie des sciences, l'enquête porte sur des expériences qui questionnent l'évidence de notre conception « moderne » de l'« intériorité », réduite à sa part mentale, et qui contestent le partage selon lequel tout ce qui se manifeste « à la surface » du corps est une affaire publique tandis que tout ce qui s'y passe « en profondeur » est une affaire privée. Elle suit des praticiens qui font de leur « intériorité » un lieu de pratique et d'apprentissage, presque un lieu d'intervention publique, en construisant des sensations à la fois intérieures et publiques Ces pratiques instaurent la possibilité de se rendre sensible à des « entités intérieures » (internal material) qui comptent comme autant de ressources pour danser, improviser, composer et, plus largement, sentir, se relier et connaître. Cette recherche documente ce travail de « mise en culture des sens intérieurs » (Luhrmann) par lequel d'autres « versions » (Despret) de l'« intériorité », de la « sensation » et de la « conscience » se mettent à exister, à compter et à guider ceux qui apprennent à les cultiver. Au final, cette thèse ne fait rien de plus que de poser la question « qui danse ? », en s'obligeant toutefois à donner suffisamment d'épaisseur spéculative à cette interrogation pour que l'enquête puisse témoigner du nombre et de la variété de ceux que la réponse requiert et engage. / This inquiry considers two different somatic practices coming from the same cultural context: 70's in United States. One emerged whithin Postmodern dance experimentations — Contact Improvisation —, the other belongs to the “somatics” field (Hanna) — Body-Mind Centering. Both practices experiment discourses, knowledge and experiences on the binding of body and mind. The inquiry aims to document the ways practitioners, thanks to their inner sensations and specific training of their attention, allow their “interiority” to transform into a place for practicing and learning, or even into a public space. I intend to describe these practises as practices enhancing an « inner sense cultivation » (Luhrmann) revealing the opportunity for what we normally call « interiority », « sensation » or « body consciousness » to exist in other « versions » (Despret). Somehow, it just points out a recurrent question: “who does the dancing?”. And it brings another one: How could we force ourselves to detail our answers so that these new ‘versions' might start to vividly enter the dance?

On s'intéresse ici à une classe particulière de phénomènes musicaux improvisés : ceux qui réunissent au moins deux musiciens improvisant simultanément et librement. Les musiciens placés dans cette situation doivent affronter un problème particulier : il n'y a aucun ensemble intersubjectif de données musicales (voire extra-musicales) qui vienne contrôler non seulement le devenir formel de l'improvisation (inter-détermination horizontale) mais encore la coexistence concurrente des différents discours improvisés (inter-détermination verticale).A partir de là, il s'agit de montrer que l'on peut penser l'improvisation collective libre, en tant qu'elle est une situation interactive, stratégique et collaborative, sous la catégorie générique du problème de coordination.Cette appartenance étant posée, la question est ensuite envisagée sous différents angles. Dans la première partie, la théorie des jeux, en particulier la théorie des points focaux, est mobilisée pour déterminer les heuristiques cognitives qui seront utilisées par les improvisateurs pour parvenir effectivement à se coordonner. On montre dans la deuxième partie la place centrale qu'occupe l'idée de coordination dans la dynamique et la gestion formelle d'une improvisation collective libre. Le cadre théorique est finalement confronté à deux types de données empiriques : des analyses d'extraits du festival Company Week, organisé par le guitariste Derek Bailey, dans la troisième partie ; et les résultats de cinq proto-expérimentations menées auprès de musiciens issus de la Norwegian Academy of Music et du CNSMD de Lyon, dans la quatrième partie. / This thesis deals with a specific class of musically improvised phenomenons : the one's that are produced by at least two musicians in simultaneous and open improvisation. Musicians in this situation face a specific challenge : the lack of common mmusical (or non-musical) set of imputs which can shape the formal process of the improvisation (horizontal indeterminacy) or assure the mutual coexistence of the improvised discourses (vertical indeterminacy).In the following, we postulate that collective free improvisation, as an interactive, strategic and collaborative situation, falls under the generic category of coordination problems.Having established this point, we consider the question from different perspectives. In the first part, game theory, or to be more precise, focal points theory, is used to determine the cognitive heuristics which help musicians in the coordination task. Then we show in the second part that the very idea of coordination is central to the formal dynamics of collective free improvisation. This theorical framework is finally completed by two kinds of empirical data : the analysis of Company Week's excerpts, a festival founded by guitarist Derek Bailey, in the third part ; and the results of five proto-experimentations conducted with musicians from both the Norwegian Academy and Lyon's CNSMD, in the fourth part.

La présente étude aborde la problématique de la fonction et du statut du compositeur - comme celle de son influence et de son style - au sein de la tradition musicale classique de l’Inde du Sud (musique carnatique) à travers ses trois plus grands représentants ou « Trinité carnatique » : Śyāmā Śastri (1762/63 – 1827), Tyāgarāja (1767-1847), Muttusvāmi Dīkṣitar (1775-1835). Elle se concentre sur la forme reine d’un vaste répertoire que ces trois musiciens ont portée à son apogée : le kṛti. Instrument privilégié de la mystique hindoue appelée bhakti, le kṛti est d’abord destiné au chant, ses compositeurs sont aussi poètes et s’il apparaît tout entier dédié à la louange divine, il s’avère aussi le lieu privilégié de l’expression personnelle sur le plan tant littéraire que musical. La création musicale en Inde du Sud est par ailleurs le fruit d'une incessante et subtile alternance entre improvisation et composition : les formes compositionnelles contiennent une part d’ouverture qui en assure non seulement la vie mais aussi la pérennité. Comment le compositeur prend-T-Il en charge le devenir de ses œuvres et de quelles manières ? Comment, tant par ses compositions que par le modèle de son existence même – par le jeu hagiographique – s’inscrit-Il dans le processus créatif, notamment celui de l’interprétation ? En quoi le kṛti, et particulièrement ceux de la Trinité carnatique, constitue un terrain particulièrement favorable pour la dialectique de la fixité et de la mobilité ? Ces éléments de problématique impliquent une approche à la fois historique et anthropologique tout en ouvrant un vaste champ à l’analyse musicale. / The topic of this study presents the part and status of a composer – as well as his influence and style – within the traditional classical music in South India (carnatic music) through its three major representatives, so called carnatic Trinity : Śyāmā Śastri (1762/63 – 1827), Tyāgarāja (1767-1847), Muttusvāmi Dīkṣitar (1775-1835). It concentrates on the most radiant aspects of a large repertoire which has been brought to its achievement by these three musicians, the krti. As an essential tool to implement the Indian mysticism so called bhakti, the kṛti’s first purpose is linked to singing; its composers are also poets and though it is entirely dedicated to God’s praise, it appears to be also a unique way for personal expression, on literary as well as musical aspects. In South India, musical creativity is also a subtle and endless combination between improvisation and composition: the composition side remains partly opened which makes it not only vivid but also perennial. How does the composer manage the future evolution of his work and through which arrangements? Where does he stand in the creation process, including interpretation, through his compositions and his own life standard, thanks to hagiography? Why does the kṛti, especially those belonging to the carnatic Trinity, form a particularly favorable field for the dialectic of permanence and change? These aspects of the question need to be treated from a historical as well as anthropological standpoint but keep opened a wide area for musical analysis investigation.

Three original software programs utilizing improvisation and live sampling are presented here, along with a discussion of aesthetic issues raised by each. They are entitled Zur Elektrodynamik bewegter Musiker, Motet, and Gamepad Sampler. These programs vary in the degree of required interaction and in the kind of user control. They are each studies in imitative counterpoint through live sampling, with an approach seeking elegance before solutions. Because of the improvisational nature of these works, there is no standard musical score. Instead the complete Max/MSP source code and a sound recording of performances making use of these programs in varied situations are included. A discussion of issues raised by these works includes aesthetics, ontology, performance, and the role of the composer. Non-interactive indeterminate compositions are ontologically thin, because some composerly agency is required of the performer. An interactive work can be ontologically substantial if it makes distinct and significant contributions to performance, even though it may not make sound on its own. Although reproducibility reduces ontology and eliminates aura, live sampling within a performance can deepen the ontology of the performance by recontextualizing previous events, reframing the original event as the first reference to an abstract musical idea that lies outside the musical performance. Reproducibility also diminishes the aura or stage presence in live performance with computers. Complex feedback systems can be used to create computation instruments: musical instruments whose unique structure resonates in ways not explicit in their programs. As the human condition and the situation of the composer change, definitions of the composer and performer must be revised. Composition is shifting away from the creation of static artifacts toward the design of dynamic systems.

Syftet med det här arbetet är att utforska improvisation i övningsrummet kontra konsertsituationen utifrån från två sonater av Domenico Scarlatti. Improvisatoriska inslag utforskas både i övningsrummet och i konsertsituationer, samt hur spontan improvisation skiljer sig från planerad improvisation. Domenico Scarlatti, begreppet improvisation, och historiska improvisationstekniker tas upp och förklaras i bakgrundskapitlet utifrån litteratur och tidigare forskning. Metodkapitlet beskriver hur arbetet gått tillväga och hur det dokumenterats. Improvisationsövningen har utgått från valda delar ur de två sonaterna. För att utreda improvisationens effekt på konsertsituationer genomfördes två framföranden inför publik med efterföljande intervjuer. Projektet dokumenterades med videoinspelningar, loggbok och videoinspelad loggbok. I kapitlet genomförande visas improvisationsövningens genomförande, framförandena och intervjuernas genomföranden samt resultat från projektet. Projektet visar att publiken inte med säkerhet kunde skilja mellan spontan och planerad improvisation. Publiken upplevde också att de improvisatoriska inslagen tillförde något till musiken. I diskussionskapitlet diskuteras resultaten från genomförandekapitlet. Vidare diskuteras vilka konstnärliga värden improvisationen kan ha om publiken inte hör skillnad mellan det planerade och det spontana samt hur ett improvisatoriskt förhållningssätt kan använ- das som ett konstnärligt verktyg för att skapa ett personligt uttryck och personliga interpretationer. / The purpose of this study is to explore improvisation in the rehearsal room versus concert situations based on two sonatas by Domenico Scarlatti. Improvisational elements are explored both in the practice room and in concert situations, as well as how spontaneous improvisation differs from planned improvisation. Domenico Scarlatti, the concept of improvisation, and historical improvisation techniques are addressed and explained in the background chapter based on literature and previous research. The method chapter describes how the work was carried out and how it was documented. The improvisation exercise has been based on selected parts of the two sonatas. To investigate the effect of improvisation on concert situations, two performances took place in front of an audience with subsequent interviews. The project was documented with video recordings, logbook and video recorded logbook. I describe the progress of the improvisation exercise, the performances and the interviews and the results from the project. The results show that the audience could not with certainty distinguish between spontaneous and planned improvisation. The audience also experienced that the improvisational elements added something to the music. The discussion chapter discusses the results. It is discussed what artistic values improvisation can have if the audience does not hear the difference between prepared and spontaneous improvisation, and how an improvisational approach can be used as an artistic tool to create a personal expression and personal interpretations.

To look at the effect of free play on the musical improvisations of first, second and third grade children, 108 children were randomly assigned to either a control or treatment group. Subjects were tested using a researcher-designed instrument to elicit an improvisatory response. The control group then received regular music instruction (120 minutes every 2 weeks) and the treatment group received regular music instruction in conjunction with musical free play (100 minutes of instruction and 20 minutes of free play every 2 weeks). The treatment lasted 14 weeks. At the end of the treatment, all students were tested with the same testing instrument used for the pre test. Videotapes of the improvisations were submitted to three independent judges to rate for quality on a 5-point Likert scale. The change in ratings between pre and post tests were analyzed with an analysis of variance to determine if there were significant differences between the control and treatment groups. The analysis of the data revealed no significant difference in the change of ratings between control and treatment groups for the group as a whole, or for any particular grade level within the total group.

The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?

This study examines the effects of imitating other musicians on one’s instrument as well as how this impacts one’s playing. Furthermore, it seeks to illuminate the question of what the ear notices first when listening non-analytically to music with the goal of copying a certain way of playing. The result of the work would be demonstrated at a concert with mostly original music. A selection of musicians and recordings to imitate was made, and the imitation happened on 8 different occasions with varying constellations and different musicians participating. During the process it was made clear that the musician’s ear mainly picks up on the overall feeling and attitude of soloists, but also some small details such as nuances in timbre and intonation. In the preparation of the concert some songs were more or less tailored to a certain way of playing, inspired by the recordings. The resulting concert clearly shared some characteristics with some of the recordings, as well as having little in common with others.

The purpose of this project has been to explore different methods that would bring melodic quality to melodies, in improvisations as well as compositions. Different standpoints on melody and melodicism, taken by different musical profiles, have been examined and from those standpoints different strategies have been formed. The goal of the project is to find out if skill in melodicism is something that can be gained through practice with concrete methods. The process of forming each method is described and the results of those methods are presented through outtakes from compositions and improvisations that I performed on my exam concert. The strategies that are explored are periodicity and idea development, flow of eight notes and sixteenth notes based on triads, pentatonicism and different forms of phrasing. Conclusion is made that all of the strategies serve their purpose, but it’s still a question if they do so for individual reasons or for the same reason, that all of the strategies simply are different variations of idea development. / <p>Repertoar, samtliga titlar komponerade av Rasmus Hansen:</p><p>Now or never</p><p>Spegel spegel på väggen där, jag har rätt du har fel</p><p>På Mammas fötter, på Pappas axlar</p><p>Cm</p><p>Out for a walk</p><p>Medverkande musiker:</p><p>Rasmus Hansen - Elgitarr</p><p>Linnea Jonsson - trumpet</p><p>Kalle Johansson - piano</p><p>August Eriksson - kontrabas</p><p>Kristian Remnelius - trummor</p>