Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style.

This research project aims to: - Examine how my musical identity as Music-maker can be fused with those of contributing improvising musicians, throughout the collaborative process. - Form creative methodologies/strategies to sufficiently accommodate the improvisatory approaches of others around my own work. - Develop appropriate communication methods, including original notational systems; and explore ways in which technology can be harnessed, to help fulfil the above objectives. This research intends to explore the extent to which improvisation may be incorporated into compositions, by means of practical experiment and investigation. The written commentary will accompany a portfolio of audio recordings and scores. Key works demonstrating various approaches and techniques employed will be examined in detail. An appendix disc of supplementary audio recordings and videos will also be provided to show piecedevelopment and the evolution of my music-making practice. My point of origin straddles that of a professional guitarist experienced in an array of improvised music(s), including: rock, jazz, fusion and contemporary improvisation, and that of a composer interested in collaborative projects which take advantage of the eclectic experience and skill sets of the musicians taking part.

Le point de départ se situe dans l’écoute et l’impression d’improvisation laissée par les œuvres d’Enesco sur nous, en tant qu’auditeur subjectif. Nous plaçons ici l’expérience musicale, et non le seul texte musical au centre de notre interrogation. Par quels moyens et avec quelle terminologie peut-on rendre compte de cette impression d’improvisé dans une oeuvre écrite et, a priori, composée ? Les allures improvisées répondent à cette question et seront considérées comme fiction esthétique dans le sens qu’elles n’existent que pour l’auditeur. Deux catégories se révèlent dans la création d’une perception typique des allures improvisées, en lien avec des procédés d’écriture spécifiques : l’improvisation écrite, comme potentielle improvisation notée, et l’écriture improvisatrice, comme fausse improvisation. L’improvisation écrite se définit comme avatar potentiel de l’improvisation, changement, modification qui implique l’écriture. L’écriture improvisatrice se définit comme une fausse improvisation et par conséquent elle n’est qu’une imitation, par les moyens de la composition, de l’improvisation. / The starting point lies in the act of listening and the impression of improvisation left by Enesco's musical works on us, subjective listeners. We shall place the musical experience - and not just the mere musical text - at the core of our analysis. By what means and through what terminology can the impression of improvisation be accounted for in a written and theoretically composed musical work ? The seemingly improvised airs provide an answer to this question and will be considered as aesthetic fiction, in the sense that they exist only for the listener. Two categories emerge from the creation of a typical perception of the seemingly improvised airs, linked to specific writing techniques : written improvisation - as a potentially noted improvisation, and improvisatory writing - as a false improvisation. Written improvisation is defined as the potential avatar of improvisation, a change, a modification which implies writing. Improvisatory writing is defined as false improvisation ; consequently, it is nothing but an imitation, by means of composition, of improvisation.