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Improvisation
Beginning with an overview of developing, teaching and analysing the skills of improvisation, the author describes techniques ranging from warming up to mirroring, rhythmic grounding, containing and holding. Notated examples allow readers to progress as they read and listen to the accompanying CD.
Free to Be Musical
Free to Be Musical: Group Improvisation in Music is for those who lead musical experiences in the lives of children, youth, and adults. Offering a set of experiences to inspire creative musical expression, this book will prove useful for music education majors, practicing music teachers, community musicians, and music therapists alike. The experiences (or 'events') are designed to reduce the musical barriers that Western societies pass on to children by the time they reach the 'age of reason,' when the natural childhood penchant to sing, dance, and play musically gives way to perfect performances of standard repertoire preserved in Western staff notation. The authors present ways to encourag...
Improvisation
Derek Bailey's IMPROVISATION, originally published in 1980, now revised with additional interviews and photographs, deals with the nature of improvisation in all its forms--Indian music, flamenco, baroque, organ music, rock, jazz, contemporary, and "free" music. Bailey offers a clear view of the breathtaking spectrum of possibilities inherent in improvisational practice.
The Art of Becoming
"With a focus on music, this book outlines what improvisation is and why it is an important creative and social activity. Drawing on the emerging psychological literature in this area, as well as evidence from authors' research with musicians, this text outlines innovative ideas on what defines improvisation and the psychological, creative and social processes involved. It explores the role of specialist skills, the importance of musical identities and the nature of understanding in improvised interaction and between improvisers. It discusses how we develop as improvisers and the role of improvisation within therapeutic applications of music. Each chapter proceeds from discussion of an illus...
Musical Improvisation
A musical practice used for centuries the world over, improvisation too often has been neglected by scholars who dismiss it as either technically undissectible or inexplicably mysterious. At different times and in different cultures, performing music that is not "precomposed" has constituted an artful expression of the performer's individuality (the Baroque); a wild, unthinking form of expression (jazz antagonists); and the best method to train inexperienced musicians to use their instruments (the Middle East). This wide-ranging collection of essays considers musical improvisation from a variety of approaches, including ethnomusicology, education, performance, historical musicology, and music theory. Laying the groundwork for even further research into improvisation, the contributors of this volume delve into topics as diverse as the creative minds of Mozart and Beethoven, the place of improvised musics in Western and non-Western societies, and the development of jazz as a musical and cultural phenomenon.
Improvisation and Music Education
This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnom...
The Practice of Musical Improvisation
Over several years, Bertrand Denzler and Jean-Luc Guionnet have interviewed approximately 50 musicians from various backgrounds about their practice of musical improvisation. Musicians include both the very experienced such as Sophie Agnel, Burkhard Beins, John Butcher, Rhodri Davies, Bill Dixon, Phil Durrant, Axel Dörner, Annette Krebs, Daunik Lazro, Mattin, Seijiro Murayama, Andrea Neumann, Jérôme Noetinger, Evan Parker, Eddie Prévost and Taku Unami, as well as those newer to the field. Asked questions on topics such as the mental processes behind a collective improvisation, the importance of the human factor in improvisation, the strategies used and the way musical decisions are made, the interviewees highlight the habits and customs of a practice, as experienced by those who invent it on a daily basis. The interviews were carefully edited in order to produce a sort of grand discussion that draws an incomplete map of the blurred territory of contemporary improvised music.
Improvisation
In this book the author examines the special nature of improvisation. Chase's approach to the subject is based on her conviction that we are all born with the ability to improvise, but for various reasons we learn to mistrust and even deny our capability. The book is directed as much to the beginner as to the professional. It gives simple suggestions and open-ended examples that can be expanded upon in unlimited ways. Improvisation focuses mainly on the piano, but most of the suggestions can be explored on any instrument. This book is a rich source of ideas and inspiration. --from back cover.
Studies in Historical Improvisation
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour—a musical blossoming out of the capricious genius of the player—that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic explor...
Fantasies of Improvisation
The first history of keyboard improvisation in European music from the time of Beethoven through the later nineteenth century, Dana Gooley's Free Play: Fantasies of Improvisation in Nineteenth-Century Music describes the motives, intentions, and musical styles of the nineteenth century's leading improvisers, and traces the evolution of the performance practice into a glorified ideal.
