Macglone20202.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Macglone20202.Pdf This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Developing music improvisation workshops for preschool children through Action Research Una M. MacGlone PhD Music University of Edinburgh 2020 Declaration I hereby declare that I am the sole author of this thesis; that this thesis is entirely my own work; and that no part of this thesis has been submitted for another degree or qualification. Signed............................................................................................................................. Una M. MacGlone, January 2020. ABSTRACT Improvisation in music is an important skill, which is increasingly valued, and an essential part of curricula at all educational levels. However, understandings of improvisation are conflicting and contradictory approaches exist within improvisation pedagogy. Creative and learning processes from free improvisation are used in Higher Education, and with Secondary and Primary children, but there is scarce research with young children. This is despite potential alignment with preschool curricula, which emphasise creativity and social skills. The aims of this PhD were to investigate and improve a novel method of delivering music education to preschool children through improvisation, emphasising personal creativity and socio-musical responsiveness. The research questions were as follows: How can children’s creativity and engagement in group improvisation be appreciated and evaluated? This question had two further sub questions: What are parents’ and teachers’ attitudes and beliefs about the children, creativity and music?, and, What are the children’s conceptualisations of the workshops? The second research question was: Do the workshop programme, teaching approaches and methods change through two cycles of Action Research? A Pragmatic theoretical stance supported Mixed Methods within an Action Research design, providing a suitable model for enquiry through action, analysis, and planned change. Workshop materials were designed for two 6-week cycles of Action Research for different groups of preschool children (seven in cycle I, six in Cycle II; aged 4-5) in 2016. Prior to the workshops, two original theoretical constructs were proposed and then refined through the process of analysis: Creative musical agency (CMA) and socio-musical aptitude (S-MA). CMA is instantiated when a child creates and executes novel musical material independently in a group improvisation. S-MA is instantiated when child creates a musical response in relation and with reference to, another child’s musical idea in a group improvisation. Video data of the children’s improvisations were sampled and analysed using multimodal video analysis, to gain a rich, nuanced picture of social and musical interactions and expressions of creativity during the children’s improvisations. This involved coding for instances of CMA and S-MA in different musical parameters. In-depth interviews with the children’s parents and teachers and children’s talk from the workshops were subjected to Thematic Analysis. Two experts rated 39 clips of the children’s improvisations as showing CMA, S-MA or neither and were interviewed to explore their views further. In parents’ and teachers’ interviews, the types of strategies they employed were shaped by whether or not they perceived a child as confident and able to share. Their conceptions of children’s creativity were through descriptions of their art activities as well as making up stories and role play. In contrast, music was not readily conceptualised as a creative activity and being musical was understood as possessing technical skill on an instrument. All of the adults identified as non-musical, even though they participated in musical activities with the children. In children’s talk, their understandings of improvising were mediated in distinct ways: previous musical experiences, expressive descriptions of their improvisations, and i combinations of these with musical terms. Video analysis indicated that for 10/13 children, the number of CMA and S-MA events increased over the workshop programme. The range of musical parameters for improvising increased through the workshop programme. Between the experts’ video clip ratings there was a slight agreement for CMA (Kappa 0.21 and moderate agreement for S-MA (Kappa 0.5). They accounted for this by proposing that the teacher mediated some children’s CMA events. Video analysis showed children looking at the teacher before 57% of CMA events. The workshop model changed from a linear succession of tasks with a talk section at the end to iterative cycle of playing and talking, as the original model was not effective in facilitating the children’s discourse. This study is the first to use improvisation with a group of this size and age. Two novel constructs of CMA and S-MA offer a promising means to apprehend and evaluate young children’s creativity and engagements in group improvisation. Children’s perspectives in creative tasks are under reported; the distinct understandings of improvisation that emerged here are important in appreciating conceptual as well as musical development at this age. Parents and teachers value music and creativity but their own musical identities may affect how they create music with children. The refined workshop model offers a flexible and responsive template; by capturing children’s understanding of their playing, informed pedagogical choices can be made. Recommendations for future research include creating more CMA and S-MA based activities, and investigating effective teacher training for future delivery. More qualitative studies could investigate children’s cognitive processes in group creativity. Music is a collection of skills, therefore, developing conceptualisations of music education as improving creativity, social skills and critical thinking, presents a powerful argument for teaching and appreciating music in these ways from the start of young children’s education. ii CONTENTS ABSTRACT i TABLE OF CONTENTS iii TABLE OF TABLES xi TABLE OF FIGURES xii ACKNOWLEDGEMENTS xiii ABBREVIATIONS xv CHAPTER 1: INTRODUCTION TO THE THESIS 1 1.1 Overview 1 1.2 Research dilemma 2 1.3 Personal background to the investigation 5 1.3.1 My improvising self 5 1.3.2 My teaching self 7 1.3.3 My research self 8 1.4 Scottish educational context 10 1.4.1 Curriculum for Excellence 10 1.4.2 Music curriculum for Early Years 11 1.5 Defining terms and my position 14 1.5.1 Music education and music pedagogy 14 1.5.2 Improvisation lessons or workshops? 15 1.6 Structure of thesis 16 CHAPTER 2: LITERATURE REVIEW 19 2.1 Introduction 19 2.2 Definitions and understandings of improvisation 20 2.2.1 Locating the field 20 2.2.2 What can mediate improvisation? 24 2.2.3 My definition 26 2.3 Improvisation in schools 28 2.3.1 Previous examples 28 2.3.2 Current curricular influences 33 2.4 Frames for preschool children’s improvising 37 iii 2.4.1 Power of definition 38 2.4.2 What can mediate preschool children’s improvisations? 40 2.5 Teaching improvisation 43 2.5.1 Pedagogical approaches 43 2.5.2 Educational purpose 46 2.5.3 Purpose: to encourage personal growth 47 2.5.4 Purpose: to develop musical skills 49 2.5.5 Purpose: to develop collaborative skills 52 2.5.6 Purpose: to develop creativity 54 2.5.7 Purpose: to develop reflective and critical skills 56 2.5.8 Role of the teacher 57 2.5.9 Summary 60 2.6 Conclusions 61 2.7 Constructs 63 2.8 Research questions 64 CHAPTER 3: METHODOLOGY 65 3.1 Overview 65 3.2 Historical perspectives 65 3.3 How is music education viewed? 67 3.4 Pragmatism 69 3.4.1 Pragmatic views of knowledge 69 3.4.2 Summary 72 3.5 Action Research 73 3.5.1 Researcher position 75 3.6 Mixed methods 77 3.7 Methods for data gathering 79 3.7.1 Research question one 80 3.7.2 Sub questions 81 3.7.3 Research question two 83 3.7.4 MMR in the AR cycle 84 3.7.5 Pilot study 84 iv 3.8 Qualitative methods of analysis 84 3.9 Thematic Analysis 86 3.10 Multimodal video analysis 88 3.11 A tool for reflexivity: Activity Theory 89 3.12 Summary 93 CHAPTER 4: METHODS 95 4.1 Chapter overview 95 4.2 Research overview 95 4.3 Pilot workshop 96 4.3.1 Pilot workshop aims 96 4.3.2 Pilot workshop procedure 96 4.4 Study design 98 4.4.1 Action Research study design 98 4.4.2 Recruitment criteria for nurseries 99 4.4.3 Nursery recruitment procedure 100 4.4.4 Ethics 101 4.5 Workshop delivery 101 4.5.1 Participants 101 4.5.2 Workshop procedure 103 4.6 Video data 104 4.6.1 Video data collection 104 4.6.2 Method of analysis 104 4.7 Interview data 108 4.7.1 Interview participants 108 4.7.2 Interview design 109 4.7.3 Interview data collection 110 4.7.4 Method of analysis 110 4.8 Children’s talk data 115 4.8.1 Talk data collection 115 4.8.2 Talk data analysis 115 4.9 Experts’
Recommended publications
  • 333299620-Oa
    fpsyg-11-623640 February 18, 2021 Time: 19:46 # 1 ORIGINAL RESEARCH published: 23 February 2021 doi: 10.3389/fpsyg.2020.623640 Our Virtual Tribe: Sustaining and Enhancing Community via Online Music Improvisation Raymond MacDonald1*, Robert Burke2, Tia De Nora3,4, Maria Sappho Donohue5 and Ross Birrell6 1 School of Music, The University of Edinburgh, Edinburgh, United Kingdom, 2 Sir Zelman Cowen School of Music, Monash University, Melbourne, VIC, Australia, 3 Department of Sociology, Philosophy, and Anthropology, University of Exeter, Exeter, United Kingdom, 4 Grieg Research School in Interdisciplinary Music Studies, University of Bergen, Bergen, Norway, 5 Interactive Research in Music as Sound, Centre for Research in New Music, University of Huddersfield, Huddersfield, United Kingdom, 6 The Glasgow School of Art, Glasgow, United Kingdom This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of Edited by: twice weekly improvisation sessions, 29 interviews with participants were undertaken, Melanie Wald-Fuhrmann, Max Planck Institute for Empirical recorded, transcribed, and analyzed. Key themes include how the sessions provided Aesthetics, Germany opportunities for artistic development, enhanced
    [Show full text]
  • Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
    THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s.
    [Show full text]
  • Final Thesis.Pdf
    An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis.
    [Show full text]
  • Thinking Through Improvisation: How Arts-Based Reflexivity Can Offer New Knowing About Music Therapists’ Experiences of Humour in Music Therapy
    RESEARCH | PEER REVIEWED Thinking Through Improvisation: How Arts-based Reflexivity Can Offer New Knowing About Music Therapists’ Experiences of Humour in Music Therapy Nicky Haire 1 *, Raymond MacDonald 2 1 Reid School of Music, University of Edinburgh; Queen Margaret University, Edinburgh, Scotland 2 Reid School of Music, University of Edinburgh, Scotland *[email protected] Received: 25 March 2020 Accepted: 22 April 2021 Published: 1 July 2021 Editor: Tríona McCaffrey Reviewers: Joanna Parsons, Kana Okazaki-Sakaue Abstract As part of a larger research study investigating humour in music therapy with persons with dementia, this article details how music therapists perceive, embody and ex- perience humour in their practice. Three focus groups with music therapists ( N = 9) were organised and resulting data analysed through arts-based reflexive methods. Building on Schenstead’s (2012) articulation of arts-based reflexivity, two distinct and overlapping forms of thinking through improvisation are highlighted; self-reflex- ivity and collaborative-reflexivity.Finlay’s (2011) phenomenological lifeworld-orient- ed questions are used to explicate dimensions of experiences of humour and frame broad thematic reflections. Particular correspondence between improvisation as a way of being and humour in music therapy are explored performatively through a group improvisation involving the first author. The findings from this synthesis offer insight into how music therapists conceive of humour in their work as supportive of relational bonding, and also experience hu- mour as distancing and defensive behaviour. Along with the perceived risks of hu- mour in relational therapeutic work, an intricate balance between playfulness and professionalism surfaced as part of a music therapy identity.
    [Show full text]
  • Duo Vocal, Musique Électronique Et Multiphonie
    MULTIVOX Duo vocal, musique électronique et multiphonie Avec Christine Bertocchi, voix Phil Minton, voix Olivier Sens ou Boris Darley, traitement sonore et multi-diffusion D'un instant à l’autre – 1, route de Chatillon– 21500 Montbard 06 25 11 20 29 - www.uninstantalautre.com 1 LE PROJET Les voix de Christine Bertocchi et Phil Minton se sont rencontrées à plusieurs reprises depuis une quinzaine d'années. Pour Multivox, elles tissent ensemble un parcours vocal, fait d'explorations sur le timbre et la matière sonore de la voix, de recherches sur les registres extrêmes et les usages extra-européens de la voix, de jeux rythmiques. Au fil de ce déroulement, ressurgissent des thèmes issus du jazz, des mélodies suspendues. La variété de leurs possibilités vocales et de leurs imaginaires musicaux, plongent les spectateurs dans une suite musicale faite de reliefs inattendus, relayée par un travail de traitement, transformation, boucles, et reprise en multi-diffusion tout autour des spectateurs. Entourés d'enceintes qui démultiplient les sources sonores, et plongés dans un premier temps dans une quasi pénombre, ils découvrent peu à peu les corps en mouvement, sources premières de l'émission sonore. Parfois, des objets manipulés par les deux chanteurs, leur permettent de jouer encore plus avec l'écoute du public. Les voix traversent ces filtres ou amplificateurs que peuvent être ces caisses de résonance, en forme de cercle ou de tunnel. Les gestes prennent alors une place prépondérante, détachés des voix qui voyagent à travers les différents enceintes : une différenciation de l'émission sonore et gestuelle, à partir de la même source, qui crée une sorte de chorégraphie spontanée, décalée mais intimement reliée.
    [Show full text]
  • A Power Stronger Than Itself
    A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY
    [Show full text]
  • Irène Schweizer Catalogue
    IRÈNE SCHWEIZER INTAKT RECORDS Irène Schweizer writes jazz history, and this catalogue documents the musical work of the jazz pianist. Demonstrating a responsibility for the music, Intakt Records, in collaboration with the artist, has made a carefully curated selection of work accessible. Given the abundance of artistic production, this is a project that is still far from being completed. The compilation reveals the main focuses of Irène Schweizer’s music. The great solo recordings, which present the broad spectrum of the musician. The piano-drums works with the most important percussionists in jazz today. The feminist mani- festos with musicians like Joëlle Léandre, Maggie Nicols, Marilyn Crispell and Co Streiff. The close connection to the tradition of black American jazz with Don Cherry, John Tchicai, Andrew Cyrille, Hamid Drake, Fred Anderson and George Lewis. The love for South African jazz with Louis Moholo. And Irène Schweizer, the European, in collaboration with Pierre Favre, Barry Guy, Han Bennink, Günter Baby Sommer, Jürg Wickihalder, Omri Ziegele. Capturing all of this creativity is an ongoing pursuit that will take many years. A long journey into the depth and breadth of Irène Schweizer’s improvisation which we endeavour to undertake for the benefit of the listener. Intakt Records IRÈNE SCHWEIZER Irène Schweizer schreibt Jazzgeschichte. Der vorliegende Werkkatalog dokumentiert die musikalische Arbeit der Jazzpia- nistin. Diese Edition zeigt die Verantwortung für die Musik: dass aus der Fülle der künstlerischen Produktion eine überlegte und überzeugende Auswahl getroffen und zugänglich gemacht wird – in enger Zusammenarbeit von Intakt Records mit der Künstlerin. Eine Arbeit, die noch längst nicht abgeschlossen ist.
    [Show full text]
  • Improvised Music After 1950: Afrological and Eurological Perspectives
    Improvised Music after 1950: Afrological and Eurological Perspectives George E. Lewis Black Music Research Journal, Vol. 22, Supplement: Best of BMRJ. (2002), pp. 215-246. Stable URL: http://links.jstor.org/sici?sici=0276-3605%282002%2922%3C215%3AIMA1AA%3E2.0.CO%3B2-Y Black Music Research Journal is currently published by Center for Black Music Research - Columbia College Chicago. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/cbmr.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Tue Oct 9 15:15:54 2007 IMPROVISED MUSICAFTER 1950: AFROLOGICALAND EUROLOGICAL PERSPECTIVES GEORGEE.
    [Show full text]
  • National Endowment for the Arts FY 2017 Spring Grant Announcement
    National Endowment for the Arts FY 2017 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of June 5, 2017. For the most up to date project information, please use the NEA's online grant search system. Click the grant category or artistic discipline/field below to jump to that area of the document. 1. Art Works grants by discipline/field Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. Research: Art Works Grants 3. Our Town Grants 4. Partnerships (State & Regional) Arts Education Number of Grants: 113 Total Dollar Amount: $3,375,000 Abada-Capoeira San Francisco $10,000 San Francisco, CA To support the expansion of a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit. Students will develop their physical and cognitive skills through weekly classes with professional artists, learning the physical elements of the art form, the music, historical and cultural information, and performance concepts. Students will work in partners and as a group, interacting in an atmosphere that encourages creativity and spontaneity. Emphasis will be placed on teamwork, concentration, and the use of movement, rhythm, and song as methods of expression. Actors' Shakespeare Project (aka ASP) $30,000 Somerville, MA To support Shakespeare Inside and Out youth theater programs. Participating youth (many of whom are involved in the court system) develop artistic, literacy, social, and pre-professional skills through the study of Shakespeare and other ensemble-based theater projects.
    [Show full text]
  • Jeff Berlin Markus Burger Barry Guy Elise Lebec Pharoah Sanders Barre Phillips Mike Richmond Steve Swallow Eberhard Weber
    creative music THE INDEPENDENT JOURNAL OF IMPROVISED jeff berlin markus burger barry guy Elise Lebec Pharoah sanders barre phillips Mike Richmond Steve Swallow Eberhard Weber Concert Reviews International jazz news jazz stories Photo Histories CD Reviews Obituaries VOLUME 40 NUMBER 2 APRIL MAY JUNE 2014 2 | CADENCE MAGAZINE | APRIL MAY JUNE 2014 OSHU RSIL J A ABR OU N S AM S C N E VA C O N S E RI SA NIE JE U R K AS P PE C FF CQ O AIN TE R A A IN V GE LEWIS M R O L J L YL OR IK KO T B R E S E FR ANCK E W H E E G K M L E R D N N RE É A A T V E A U UVET NICO D L R A A Z JO LE I D S M L D M T- M O D D E R A I D SANT I N A L E H T R A T O M S O E M E A C C I R C H P N R H L T J L ELL DYL U A S R A E D I E D C B E W Z H I E S N L V L L D E C H L A V O B E N A V A A N A N V E A A M D V R I A A E E V L R R L I E S H E C R E V I H N E O R I C A D L H D E T K T T D U W D X S L N V T J A G E S S C L I A A I A S E E A T E O L E O I L F R A T S R L E K L N E E M R R M N I E V A E A C T S E R S E U B E D A L A V N M E T C U E A C L I C M N R B Y O H I K L W D A I H H S D Y É E T M U Y A R C R R N A Y Y T C B I N H A A S G T E E N N V L S C F S H E P H A O «ROGUEART» P R E O F G E I E N I L S R I D R S H D D E M F L E R A U I M C K H B A A L L R C A A R P P E A A L T A R O P I Y J I O T R R O M H L H M A E E O S S E J W L L T P N I E A T E R O O E K Y T N O E E W E M A T R N D M O T A K L O R E S K F R N H N T F L R C A O L H I I O A S O Y E A E L U R N A R D R É A P S L S D E E L A W Z D R D M N T R M E A I Y I O R L S A D L D I D R L I Ë I E A O S G V J A N A T B www.roguart.com N M O E I W S B O A N J F K O O R H U E I R N B I R N Y A S E A N K I W C I H L D K I T G H E E C A S D I J B A S C E Q U 4 | CADENCE MAGAZINE | APRIL MAY JUNE 2014 ___ IC 1001 Doodlin’ - Archie Shepp ___ IC 1070 City Dreams - David Pritchard ___ IC 1002 European Rhythm Machine - ___ IC 1071 Tommy Flanagan/Harold Arlen Phil Woods ___ IC 1072 Roland Hanna - Alec Wilder Songs ___ IC 1004 Billie Remembered - S.
    [Show full text]
  • IMPROVISATIONSETCOMPOSITIONS 6 20H POURVOIXETORCHESTRE Octobre 2017 JOKER + MAGGIE NICOLS + LE GGRIL Une Présentation De Supermusique En Codiffusion Avec Tour De Bras
    Une présentation de SuperMusique en codiffusion avec Tour de bras Joker (Montréal) Maggie Nicols (Londres) Le GGRIL (Rimouski) Communion Martin Morissette - FIMAV Martin 2015 Morissette - FIMAV Vendredi IMPROVISATIONS ET COMPOSITIONS 6 20h POUR VOIX ET ORCHESTRE octobre 2017 JOKER + MAGGIE NICOLS + LE GGRIL Une présentation de SuperMusique en codiffusion avec Tour de bras LES GRANDS ESPRITS DE LA MUSIQUE ACTUELLE IMPROVISÉE se rencontrent pour ce concert: Joker, chorale d’improvisation dirigée par Joane Hétu; Maggie Nicols grande dame de l’improvisation vocale britannique et Le GGRIL (Grand Groupe Régional d’Improvisation Libérée). Cette communion peu banale s’intéresse notamment au thème de la vulnéra- bilité abordé dans le processus de création. Une vulnérabilité quotidienne pour certains, qui touche et bouleverse, mais qui amène aussi au dépassement et à la création. PROGRAMME Langoureusengagée (2017) Joane Hétu 20 min. CRÉATION AVEC LE SOUTIEN DU FONDS DE RECHERCHE ET CRÉATION DE SUPERMUSIQUE INTERPRÉTÉE PAR JOKER Improvisation (2017) Maggie Nicols, Joane Hétu 10 min. CRÉATION INTERPRÉTÉE PAR JOKER ET MAGGIE NICOLS ENTRACTE Organon (2016) Isaiah Ceccarelli ~ 15 min. COMMANDE DU GRAND GROUPE REGIONAL D’IMPROVISATION LIBÉRÉE INTERPRÉTÉE PAR LE GGRIL Fragile (2017) Maggie Nicols • CRÉATION ~ 25 min. INTERPRÉTÉE PAR LE GGRIL ET MAGGIE NICOLS Conduction non numérotée (2017) Raphaël Arsenault ~ 6 min. INTERPRÉTÉE PAR LE GGRIL ET MAGGIE NICOLS NOTES DE PROGRAMME Langoureusengagée (2017) Joane Hétu Développé à partir d’une extrait de mon théâtre musical La femme territoire ou 21 fragments d’humus, ce texte, constitué de quatorze phrases bâties autour des conso- nances «euse» et « eur», évoque la réciprocité amoureuse. J’y ai ajouté des jeux d’arti- culations, de caractères, de rythmes et j’y ai superposé des improvisations inspirées des chanteuses et des chanteurs.
    [Show full text]
  • IS PRESSEDOK E Bild 1
    IRÈNE SCHWEIZER A Film by Gitta Gsell DVD, 75 Min., 5.1 Mix, 16/9, Switzerland 2005 Original version: Swiss-German, German, English Subtitles: English, German, French or Spanish with Irène Schweizer Piano, Drums – Zurich Fred Anderson Sax – Chicago Jürg Wickihalder Sax – Zürich Hamid Drake Drums – Chicago Louis Moholo Drums - Cape Town - London Pierre Favre Drums – Zurich Co Streiff Sax – Zurich Joëlle Léandre Bass – Paris Maggie Nicols Vocals – Wales La Lupa Vocals – Zurich Han Bennink Drums – Amsterdam and Rosmarie A. Meier Intakt Records - Zurich Patrik Landolt Intakt Records - Zurich Marianne Regard Zurich Niklaus Troxler Jazzfestival Willisau Mpumi Moholo Cape Town Jost Gebers FMP Free Music Productions - Berlin Rosina Kuhn Painter - Zurich A RECK Film production, Zurich in co-production with MIRAPIX und SRG IDÉE SUISSE, SF DRS, 3Sat, TELECLUB Production and World Rights RECK Filmproduktion GmbH Dienerstrasse 7 - CH-8004 Zurich - www.reckfilm.ch - [email protected] Distribution Switzerland Filmcoopi Zürich Heinrichstrasse 114 - CH-8005 Zurich – www.filmcoopi.ch - [email protected] Synopsis Music is and always has been Irene Schweizer’s whole life. In her film, Gsell gets some rare one-to-one time with the internationally renowned Swiss pianist Irene Schweizer, whose music has roots in Jazz and improvisational music. The film gives a fascinating insight into the life of a great artist, where friendship and relationships always take second place to the music, shunted between foreign tour dates and rehearsals, between inspiration and creation. Music has inspired Schweizer to great heights, sometimes followed by deep loneliness. However, Schweizer’s grand piano – her partner – is always there for her.
    [Show full text]