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Interaction, Improvisation, and Interplay in Jazz Performance offers a new and exciting way to listen to and understand jazz. When describing a performance, most jazz writers focus on the improvised lines of the soloist and their underlying harmonic progressions. This approach overlooks the basic fact that when you listen to jazz, you almost never hear a single line, but rather a musical fabric woven by several musicians in real time. While it is often pragmatic to single out an individual solo line, it is important to remember that an improvised solo is but one thread in that fabric; and it is a thread supported by, responded to, and responsive of the parts being played by the other musicians in the group. Interaction, Improvisation, and Interplay in Jazz Performance explores the process of player interaction in jazz, and the role this interaction plays in creating improvised music, including: jazz improvisation through theory and analysis musical roles, behaviours and relationships harmony, interaction and performance Interaction, Improvisation, and Interplay in Jazz Performance will appeal to students of jazz history, composition, and performance, as well as to the general jazz audience.
This fresh look at the neglected rhythm section in jazz ensembles shows that the improvisational interplay among drums, bass, and piano is just as innovative, complex, and spontaneous as the solo. Ingrid Monson juxtaposes musicians' talk and musical examples to ask how musicians go about "saying something" through music in a way that articulates identity, politics, and race. Through interviews with Jaki Byard, Richard Davis, Sir Roland Hanna, Billy Higgins, Cecil McBee, and others, she develops a perspective on jazz improvisation that has "interactiveness" at its core, in the creation of music through improvisational interaction, in the shaping of social communities and networks through music, and in the development of cultural meanings and ideologies that inform the interpretation of jazz in twentieth-century American cultural life. Replete with original musical transcriptions, this broad view of jazz improvisation and its emotional and cultural power will have a wide audience among jazz fans, ethnomusicologists, and anthropologists.
Books about contact improvisation are hard to find and it is even more difficult to find books containing specific exercises, instructions and ideas on how to lead a Contact Improvisation workshop. Each Contact-teacher has his or her own area of interest--a complete survey has not yet been published in spite of growing public awareness. This book ......
Jazz, America's original art form, can be a catalyst for creative and spiritual development. With its unique emphasis on improvisation, jazz offers new paradigms for educational and societal change. In this provocative book, musician and educator Edward W. Sarath illuminates how jazz offers a continuum for transformation. Inspired by the long legacy of jazz innovators who have used meditation and related practices to bring the transcendent into their lives and work, Sarath sees a coming shift in consciousness, one essential to positive change. Both theoretical and practical, the book uses the emergent worldview known as Integral Theory to discuss the consciousness at the heart of jazz and the new models and perspectives it offers. On a more personal level, the author provides examples of his own involvement in educational reform. His design of the first curriculum at a mainstream educational institution to incorporate a significant meditation and consciousness studies component grounds a radical new vision.
"This book is and overview of concepts and techniques fundamental to interacticve theatre. It can serve as an introduction for those new to the field and as a brush up review for the most experienced interactors"--Introduction.
At a time of unprecedented interest in improvisation across the arts, The Art of Becoming boldly asserts that everyone can and should improvise. Drawing on emerging psychological literature as well as their own research with musicians, authors Raymond MacDonald and Graeme Wilson - both music psychologists and renowned performers in their own right - propose new ideas on what defines improvisation in music. MacDonald and Wilson explore the cognitive processes involved, the role of specialist skills or knowledge in improvised interaction, and the nature of understanding between improvisers. Their investigation lays out how we develop as improvisers, alongside health benefits derived from music participation. The Art of Becoming is a vital resource for courses on improvisation in contemporary practice, and for those applying musical improvisation in community and therapeutic contexts, setting out a framework based on psychological findings for understanding improvisation as a universal capability and an essentially social behavior. With suggestions for approaching this practice in new ways at any level, it demonstrates how improvisation transcends musical genres and facilitates collaboration between practitioners from disciplines across the artistic spectrum. Putting forward important implications for contemporary artistic practices, pedagogy, music therapy and the psychology of social behavior, The Art of Becoming provides fresh and provocative insights for anyone interested in playing, studying, teaching, or listening to improvised music.
Are you a drama student looking for other ways to practice in your field? Perhaps you teach drama students or as a teacher want to enliven your lessons. Are you an actor who wants to diversify your role repertoire? Are you a therapist who uses active approaches to promote your clients' creative potentials? Maybe you want to be involved in a meaningful form of social action? This is the book for you Thirty-two innovators share their approaches to interactive and improvisational drama, applied theatre, and performance, for education, therapy, recreation, community-building, and personal empowerment.You are holding the only book that covers the full range of dynamic methods that expand the theatre arts into new settings. There are approaches that don't require memorizing scripts or mounting expensive productions. Dramatic engagement should be recognized as addressing a far broader purpose. There are ways that are playful, and types of non-scripted drama in which the audience become co-actors. This present book is unique in offering ways for participants to become more spontaneous and involved.
Jazz Improvisation Using Simple Melodic Embellishment teaches fundamental concepts of jazz improvisation, highlighting the development of performance skills through embellishment techniques. Written with the college-level course in mind, this introductory textbook is both practical and comprehensive, ideal for the aspiring improviser, focused not on scales and chords but melodic embellishment. It assumes some basic theoretical knowledge and level of musicianship while introducing multiple techniques, mindful that improvisation is a learned skill as dependent on hard work and organized practice as it is on innate talent. This jargon-free textbook can be used in both self-guided study and as a course book, fortified by an array of interactive exercises and activities: musical examples performance exercises written assignments practice grids resources for advanced study and more! Nearly all musical exercises--presented throughout the text in concert pitch and transposed in the appendices for E-flat, B-flat, and bass clef instruments--are accompanied by backing audio tracks, available for download via the Routledge catalog page along with supplemental instructor resources such as a sample syllabus, PDFs of common transpositions, and tutorials for gear set-ups. With music-making at its core, Jazz Improvisation Using Simple Melodic Embellishment implores readers to grab their instruments and play, providing musicians with the simple melodic tools they need to "jazz it up."
Addressing a wide range of improvised art and music forms—from jazz and cinema to dance and literature—this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities. Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoë Svendsen, Darren Wershler
In the first book of its kind, John Corbett's A Listener's Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous improvising: music with no pre-planned material at all. Drawing on over three decades of writing about, presenting, playing, teaching, and studying freely improvised music, Corbett offers an enriching set of tools that show any curious listener how to really listen, and he encourages them to enjoy the human impulse-- found all around the world-- to make up music on the spot.