國立虎尾科技大學 |

Strategy in Contemporary Jazz Improvisation : = Theory and Practice.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Strategy in Contemporary Jazz Improvisation :/
其他題名:	Theory and Practice.
作者:	Williams, Thomas.
面頁冊數:	1 online resource (254 pages)
附註:	Source: Dissertations Abstracts International, Volume: 79-07, Section: C.
Contained By:	Dissertations Abstracts International79-07C.
標題:	Music theory. -
電子資源:	click for full text (PQDT)
ISBN:	9781083456878

Strategy in Contemporary Jazz Improvisation : = Theory and Practice.
Williams, Thomas.

Strategy in Contemporary Jazz Improvisation :Theory and Practice. - 1 online resource (254 pages)

Source: Dissertations Abstracts International, Volume: 79-07, Section: C.

Thesis (Ph.D.)--University of Surrey (United Kingdom), 2017.

Includes bibliographical references

The ability to improvise is one of the most demanding for a jazz musician, and "one of the most complex forms of creative behaviour" (Beaty, 2015). Jazz musician accounts attest to this, describing how improvisation is fraught by "limitless challenges under tremendous pressure" (Berliner 1994:239). In mastering such a skill, a musician must be able to navigate musical space efficiently, carving out novel pathways through harmonic, melodic, timbral, and structural units of organisation, whilst simultaneously responding to interaction within the ensemble, gestural cues, and constructing a dynamic arc to the improvisation. While the importance of improvisation to a contemporary jazz musician cannot be understated, its inception and development as a cognitive skill is not completely understood. How does a musician learn to improvise? How does a musician form a vocabulary or style of improvising? To what extent is an improviser relying on pre-learned patterns, vocabulary, and schema? Why is it that the majority of expert level improvisers are unable to explain the development of their improvisations? What then are musicians really thinking about when they improvise? The research conducted draws focus on these issues, providing a new model of the generative mechanisms involved in improvising. Through an in-depth theoretical modelling and analysis of improvisational strategies, and a heuristically led practical study, this thesis addresses how concept based improvisational strategies might be adopted and assimilated. The focus of this study lies in the post-bebop contemporary jazz landscape and aims to demonstrate how strategy based generative mechanisms are developed and used in improvisatory practice. The theoretical underpinning of this thesis amalgamates recent research in improvisation cognition (including research by Martin Norgaard, Philip Johnson-Laird and Aaron Berkowitz), existing musical treatise, psychological studies and seminal jazz scholarship accounts of improvisatory practice. The second half of this thesis is a practice led inquiry, framed around contemporary jazz fusion guitarist Wayne Krantz and the assimilation of his use of strategy based generative mechanisms.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9781083456878Subjects--Topical Terms:

564045
Music theory.
Subjects--Index Terms:

Jazz musicIndex Terms--Genre/Form:

554714
Electronic books.

Strategy in Contemporary Jazz Improvisation : = Theory and Practice.
LDR:03545ntm a22003617 4500 001 1151303
005 20241104085601.5
006 m o d
007 cr bn ---uuuuu
008 250605s2017 xx obm 000 0 eng d
020 $a 9781083456878
035 $a (MiAaPQ)AAI10753643
035 $a (MiAaPQ)Surrey842640
035 $a AAI10753643
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Williams, Thomas. $e editor. $1 https://orcid.org/0000-0001-7921-771X $3 1314769
245 1 0 $a Strategy in Contemporary Jazz Improvisation : $b Theory and Practice.
264 0 $c 2017
300 $a 1 online resource (254 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 79-07, Section: C.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Mermikides, Milton;Barham, Jeremy.
502 $a Thesis (Ph.D.)--University of Surrey (United Kingdom), 2017.
504 $a Includes bibliographical references
520 $a The ability to improvise is one of the most demanding for a jazz musician, and "one of the most complex forms of creative behaviour" (Beaty, 2015). Jazz musician accounts attest to this, describing how improvisation is fraught by "limitless challenges under tremendous pressure" (Berliner 1994:239). In mastering such a skill, a musician must be able to navigate musical space efficiently, carving out novel pathways through harmonic, melodic, timbral, and structural units of organisation, whilst simultaneously responding to interaction within the ensemble, gestural cues, and constructing a dynamic arc to the improvisation. While the importance of improvisation to a contemporary jazz musician cannot be understated, its inception and development as a cognitive skill is not completely understood. How does a musician learn to improvise? How does a musician form a vocabulary or style of improvising? To what extent is an improviser relying on pre-learned patterns, vocabulary, and schema? Why is it that the majority of expert level improvisers are unable to explain the development of their improvisations? What then are musicians really thinking about when they improvise? The research conducted draws focus on these issues, providing a new model of the generative mechanisms involved in improvising. Through an in-depth theoretical modelling and analysis of improvisational strategies, and a heuristically led practical study, this thesis addresses how concept based improvisational strategies might be adopted and assimilated. The focus of this study lies in the post-bebop contemporary jazz landscape and aims to demonstrate how strategy based generative mechanisms are developed and used in improvisatory practice. The theoretical underpinning of this thesis amalgamates recent research in improvisation cognition (including research by Martin Norgaard, Philip Johnson-Laird and Aaron Berkowitz), existing musical treatise, psychological studies and seminal jazz scholarship accounts of improvisatory practice. The second half of this thesis is a practice led inquiry, framed around contemporary jazz fusion guitarist Wayne Krantz and the assimilation of his use of strategy based generative mechanisms.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Music theory. $3 564045
650 4 $a Music. $3 649088
653 $a Jazz music
655 7 $a Electronic books. $2 local $3 554714
690 $a 0221
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of Surrey (United Kingdom). $3 1188510
773 0 $t Dissertations Abstracts International $g 79-07C.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10753643 $z click for full text (PQDT)