Cognition and Musical Improvisation in Individual and Group Contexts
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Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ). -
Musical Improvisation in the Baroque Era
INTERNATIONAL CONFERENCE MUSicAL IMPROVISATION IN THE BAROQUE ERA Lucca, Complesso Monumentale di San Micheletto 19-21 May 2017 CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSicAL IMPROVISATION IN THE BAROQUE ERA Organized by CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI, LUCCA in collaboration with Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music Lucca, Complesso Monumentale di San Micheletto 19-21 May 2017 ef PROGRAmmE COmmiTTEE SIMONE CIOLFI (Saint Mary’s College, Rome-Notre-Dame, IN) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ROHAN H. STEWART-MACDONALD (Warwickshire, UK) ef KEYNOTE SPEAKERS GUIDO OLIVIERI (University of Texas at Austin, TX) GIOrgIO SANGUINETTI (Università Tor Vergata, Rome) NEAL ZASLAW (Cornell University, Ithaca, NY) FRIDAY 19 MAY 10.00-10.40: Registration and Welcome Opening 10.40-10.50 • FULVIA MORABITO (President Centro Studi Opera Omnia Luigi Boccherini) Improvisation in Vocal Music 11.00-12.30 (Chair: Simone Ciolfi, Saint Mary’s College, Rome-Notre-Dame, IN) • Valentina anzani (Università di Bologna), Il mito della competizione tra virtuosi: quando Farinelli sfidò Bernacchi (Bologna 1727) • Hama Jino Biglari (Uppsala University), Reapproaching Italian Baroque Singing • antHony Pryer (Goldsmiths College, University of London), Writing the Un-writable: Caccini, Monteverdi and the Freedoms of the Performer ef 13.00 Lunch 15.30-16.30 – Keynote Speaker 1 • giorgio Sanguinetti (Università Tor Vergata, Rome), On the Origin of Partimento: A Recently Discovered Manuscript of Toccate (1695) by Francesco Mancini The Art of Partimento 17.00-18.00 (Chair: Giorgio Sanguinetti, Università Tor Vergata, Roma) Peter m. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum DMA Document Presented In
Improvisation Methods: A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Colin A. Wood Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Scott A. Jones, Advisor Mr. Shawn Wallace Dr. David Bruenger Dr. Thomas Wells Dr. Michael Rene Torres 1 Copyrighted by Colin A. Wood 2019 2 Abstract National standards in music education from elementary through the university level dictate that students should receive instruction in musical improvisation. However, most university music curricula do not include coursework devoted to the subject. This document first examines the calls for reform in collegiate music education as well as the challenges and barriers to change. Then, a review of literature illuminates motivations for incorporating improvisation in music education, the benefits of improvisation training, research on assessment in improvisation, and methods for teaching improvisation. A comprehensive semester-long course for teaching non-idiomatic improvisation at the undergraduate level to musicians of all instruments and backgrounds follows. The course design, assignments, and activities are all detailed to facilitate potential adoption by collegiate institutions. The document concludes with avenues for further research on the topic. It is the hope of this author that this document inspires the creation and adoption of courses in improvisation at colleges and universities. ii Vita 2010 ……………………….. B.M. Jazz Studies, West Virginia University 2016 ……………………….. M.M. Saxophone Performance, The Ohio State University 2015 to present ……………. -
The Decline of Improvisation in Western Art Music
The Decline of Improvisation in Western Art Music: An Interpretation of Change Author(s): Robin Moore Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1, (Jun., 1992), pp. 61-84 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/836956 Accessed: 23/07/2008 16:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. 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/action/showPublisher?publisherCode=croat. 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. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org R. MOORE,THE DECLINEOF IMPROVISATION...,IRASM 23 (1992)1, 61-84 61 THE DECLINEOF IMPROVISATIONIN WESTERNART MUSIC: AN INTERPRETATIONOF CHANGE ROBINMOORE UDC: 781.65 OriginalScientific Paper University of Texas, Izvorniznanstveni rad AUSTIN, Texas, USA Received:March 28, 1992 Primljeno:28. -
General Catalog 2019–2020 / Edition 19 Academic Calendar 2019–2020
BERKELEY GENERAL CATALOG 2019–2020 / EDITION 19 ACADEMIC CALENDAR 2019–2020 Spring Semester 2019 Auditions for Spring 2019 By Appointment Academic and Administrative Holiday Jan 21 First Day of Spring Instruction Jan 22 Last Day to Add / Drop a Class Feb 5 Academic and Administrative Holiday Feb 18 Spring Recess Mar 25 – 31 Last Day of Instruction May 10 Final Examinations and Juries May 13 – 17 Commencement May 19 Fall Enrollment Deposit Due on or before June 1 Fall Registration Jul 29 – Aug 2 Fall Semester 2019 Auditions for Fall 2019 By May 15 New Student Orientation Aug 15 First Day of Fall Instruction Aug 19 Last Day to Add/Drop a Class Sep 1 Academic and Administrative Holiday Sep 2 Academic and Administrative Holiday Nov 25 – Dec 1 Spring 2020 Enrollment Deposit Dec 2 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 9 – 13 Winter Recess Dec 16 – Jan 21, 2020 Spring Registration Jan 6 – 10, 2020 Spring Semester 2020 Auditions for Spring 2020 By Oct 15 First Day of Spring Instruction Jan 21 Last Day to Add / Drop a Class Feb 3 Academic and Administrative Holiday Feb 17 Spring Recess Mar 23 – 27 Last Day of Instruction May 8 Final Examinations and Juries May 11 – 15 Commencement May 17 Fall 2020 Enrollment Deposit Due on or before June 1 Fall 2020 Registration July 27 – 31 Please note: Edition 19 of the CJC 2019 – 2020 General Catalog covers the time period of July 1, 2019 – June 30, 2020. B 1 CONTENTS ACADEMIC CALENDAR ............... Inside Front Cover The Bachelor of Music Degree in Jazz Studies Juries .............................................................. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
The Effect of Instruction on Eighth Grade Band Students’ Understanding of Practice
THE EFFECT OF INSTRUCTION ON EIGHTH GRADE BAND STUDENTS’ UNDERSTANDING OF PRACTICE by STACEY C. KOLTHAMMER Submitted in partial fulfillment of the requirements For the degree of Master of Arts in Music Education Thesis Adviser: Dr. William I. Bauer Department of Music CASE WESTERN RESERVE UNIVERSITY May 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 TABLE OF CONTENTS LIST OF TABLES …………………………………….…………….................. 4 ACKNOWLEDGEMENTS …………………………………………………… 6 ABSTRACT …………………………………………………………………… 7 CHAPTER ONE: INTRODUCTION ………………………………………….. 9 Definition of Practice ……………………………………………..... 9 The Complex Nature of Practice ………………………………….... 10 Developing the Practice Skills of Students ……………………….... 12 Need for the Study ………………………………………………..... 13 Purpose of the Study ……………………………………………….. 14 Research Questions ……………………………………………….... 14 Definitions of Terms …..………………………………………….... 15 Delimitations ………………………………………………………. -
The Allure of Chaotic Synergy in Grateful Dead Improvisation and Musical Dialogue
“It All Rolls into One:” The Allure of Chaotic Synergy in Grateful Dead Improvisation and Musical Dialogue Jim Tuedio Grateful Dead music is renowned for its improvisational qualities. The “psychedelic synergy” characteristic of Grateful Dead improvisation was a hallmark of thirty years of constant touring, and the rapturous allure of the musical space sustained by the band’s live performances produced a veritable culture of “tour heads” in love with the sound. Deadheads will swear the Grateful Dead improvised in a style all their own. Indeed, Grateful Dead concerts became something of a fountainhead for richly attuned, mind- altering experiences. Yet mainstream discussions of musical improvisation offer only passing references to this phenomenon to suggest anything extraordinary might have been going on. In what follows, I will attempt a discussion of Grateful Dead improvisation from the standpoint of the listener immersed in musical synergy. My goal is to explore the allure of “chaotic synergy” in Grateful Dead improvisation from a standpoint of musical embodiment. While the best access to this synergistic immersion would be through the portal of a live concert, one can attempt a careful analysis of the productive tensions operating in the musical dialogue itself. To open a conceptual space for this analysis, we need a figurative portal to musical embodiment. To reveal this point of access, we will explore facets of a listener’s engagement in Grateful Dead “phase space.” As such, this analysis will constitute something more like a phenomenology than a musicology of group improvisation. The principle focus of my analysis will be the performative “plane of immanence” characteristic of Grateful Dead music. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
TOM MCINTOSH NEA Jazz Master (2008)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOM MCINTOSH NEA Jazz Master (2008) Interviewee: Tom McIntosh (December 6, 1927 – July 26, 2017) Interviewer: Eric Jackson with recording engineer Ken Kimery Date: December 9-10, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 57 pp. Eric Jackson: Today is Friday December 9th. We are talking to Tom “Mac” McIntosh. Tom, let’s begin at the beginning. You were born in Baltimore December 6th 1927? McIntosh: Baltimore, Maryland. Eric Jackson: Baltimore, Maryland. December 6th, 1927? McIntosh: That is correct. Eric Jackson: How big was your family? Were you the youngest, the oldest…? McIntosh: My father had a son by another woman that was seven years older than me. I was the oldest of my mother’s children. My mother had six children. I was the oldest of the six. Eric Jackson: Was it a musical household? McIntosh: Fortunately, I had a mother and a father that were musically inclined. My father, he yearned to be the lead singer in the Mills Brothers. I didn’t appreciate that until later on in years when I discovered that Dean Martin and Frank Sinatra all said that it was the leader of the Mills Brothers that made them want to sing. And looking back, my father was like the leader had a paunch on. But, he made it attractive For additional information contact the Archives Center at 202.633.3270 or [email protected] because he could move his belly in sync with the rhythm of “the lazy river…” (Scats the song) And his belly is moving in rhythm with it! He was always very attractive. -
Conducted Improvisation
EXAMENSARBETE 15hp Vårterminen 2015 Lärarutbildningen i musik Handledare: Stefan Östersjö Conducted Improvisation A study of the effect of the concept of signs on musical creativity Nana Pi Aabo Larsen 1 2 Abstract The purpose of this thesis Conducted Improvisation is to study how a musical sign language can effect creativity, musical interaction and sense of freedom in ensemble playing by analyzing Extemporize, a sign system I have developed, with the further goal to explore the pedagogical potential in this practice. The research questions that drive this study are: In what ways does the sign system effect creativity and playfulness in improvised performance? In what ways does the sign system affect the sense of freedom in ensemble performance? In what ways does the sign system effect musical interaction? The material for the survey has been acquired through video documentation of rehearsals and concerts and interviews with the participants. 15 musicians took part in this study whereof 10 of them were interviewed. The results of the study indicate that sign language is effective in working with improvisation in ensemble and can have an impact on both freedom and constraint, it has the possibility to strengthen the voice of the musicians and push them in other musical directions than normally. But conducted improvisation can also create frustrations in the musicians, especially if the sign system is not rehearsed enough. Keywords: Conducted improvisation, sign system, musical performance, ensemble teaching, artistic research. 3 Sammenfatning Formålet med denne afhandling Conducted Improvisation er at undersøge, hvordan et musikalsk tegnsprog kan påvirke kreativitet, musikalsk interaktion og følelse af frihed i sammenspilssituationer ved at analysere Extemporize, et tegnsprog jeg har udarbejdet, med yderligere det formål at udforske det pædagogiske potentiale i denne praksis.