How can we talk about free improvised music? Would it be possible to teach free improvisation? It seems that because of the absence of· pre-specified rules and prescriptive materials, this practice presents itself as impermeable to analysis. Also, developing guidelines for teaching free improvised music may be considered difficult This study presents rhetoric as a suitable area for establishing a discourse on free improvisation. Rhetoric is being tested in understanding this music in structural and intentional terms. Using the combination of examining the author's own development as improviser, and the results from seven improvisation projects, this investigation has set out to propose that the social environment in which this music activity is realised is crucial for understanding this practice. The creation of form and content collectively has uncovered ethics as the primary force in establishing the style of free improvised music. Ethics, the driving force in rhetorical theory, helps us to understand this music aesthetically, opening ways for the development ofpedagogical approaches. It appears that the realisation of this activity is important for developing individual expressiveness and may be a model for a new music educational system.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:502150 |
| Date | January 2008 |
| Creators | Grossmann, Cesar Marino Villavicencio |
| Publisher | University of East Anglia |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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