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| on the edge improvisation in music: The Improvisation Edge Karen Hough, 2011-03-01 There are all kinds of books about building trust. But The Improvisation Edge is the only one that draws on the wisdom of those who are truly experts in the dynamics of trust-building: theatrical improvisers. Think about it: other than combat, no situation requires more extreme trust than improvisation. You have no script, costumes or set—nothing to depend on but your fellow improvisers. When you collaborate on such an intense level you intrinsically engender trust. Karen Hough describes four principles that will help leaders, managers, trainers, and front-line employees adopt the improviser’s mindset. You’ll learn techniques to create a positive environment, encourage fearless participation and selfless collaboration, play to your own and your colleagues’ strengths, and turn surprises, mistakes and disasters into opportunities for something new, unexpected and maybe better than you planned. The Improvisation Edge offers a fun, engaging and very hands-on way to build the kind of organizational trust and collaboration that makes breakthrough business results possible. |
| on the edge improvisation in music: Music at the Edge Colin Lee, Colin Andrew Lee, 2016-06-03 Music at the Edge invites the reader to experience a complete music therapy journey through the words and music of the client, and the therapist’s reflections. Francis, a musician living with AIDS, challenged Colin Andrew Lee, the music therapist, to help clarify his feelings about living and dying. The relationship that developed between them enabled Francis the opportunity to reconsider the meaning of his life and subsequent physical decline, within a musical context. First published in 1996, Music at the Edge is a unique and compelling music therapy case study. In this new edition of the highly successful book, Colin retains the force of the original text through the lens of contemporary music therapy theory. This edition also includes more detailed narrative responses from the author and his role as a therapist and gay man. Central to the book are the audio examples from the sessions themselves. The improvisations Francis played and his insightful verbal explorations provide an extraordinary glimpse into the therapeutic process when working in palliative and end-of-life care. This illuminating book offers therapists, musicians, related professionals and those working with, or facing, illness and death a unique glimpse into the transcendent powers of music. It is also relevant to anyone interested in the creative account of a pianist’s discovery of life and death through music. |
| on the edge improvisation in music: Unintentional Music Lane Arye, 2002-01-01 The last time you whistled a tune or hummed a song-why did you choose that one? You may not consider yourself a musical person, but your little act of unintended music may be the key to unlocking within you a wealth of unsuspected creativity-a kind of creativity that goes way beyond music, too. Lane Arye, PhD, a musician himself, focuses on the music that people do not intend to make. Using the highly regarded psychological model called Process Work, developed by Arnold Mindell, PhD, Arye has been teaching students around the world how to awaken their creativity, using music as the starting point, but including all art forms and ways of expression. The unintentional appears at moments when some hidden part of us, something beyond our usual awareness, suddenly tries to express itself. If we start paying attention to what is trying to happen rather than to what we think should happen, we open the door to self-discovery and creativity. Sometimes what we regard as mistakes in self-expression are in fact treasures. The book is rich with real-life stories, ideas, and practical techniques for unlocking creativity, which Arye dispenses with humor, insight, and enthusiasm. |
| on the edge improvisation in music: Improvisation at the Piano Brian Chung, Dennis Thurmond, 2007-03-02 This unique text uses a step-by-step approach to guide the reader from fundamental concepts to advanced topics in improvisation. Each subject is broken into easy to understand segments, gradually becoming more complex as improvisational tools are acquired. Designed for the classically trained pianist with little or no experience in improvisation, it uses the reader’s previous knowledge of basic theory and technique to help accelerate the learning process. Included are more than 450 music examples and illustrations to reinforce the concepts discussed. These concepts are useful in all improvisational settings and can be applied to any musical style. For pianists interested in jazz, there are three chapters dedicated to introducing jazz improvisation, which can be used as the basis for further study in this idiom. Teachers using this text can go online to www.improvisationatthepiano.com to download lesson plans, ask specific questions about improvisation, and view answers to the most frequently asked questions about this book. |
| on the edge improvisation in music: Improvisation On the Edge Ruth Zaporah, 2014-09-02 Directed not only toward actors, dancers, and other performing artists who draw upon improvisation as part of their craft, this Zen-infused memoir of a life lived creatively will pique the interest of anyone in search of liberation from self-limiting concepts. What does it mean to live in a body? What does it mean to improvise? Do we wonder whether we're capable of improvising—to make up things as we go, step into the unknown, take a risk that changes our notion of ourselves and the world? Author Ruth Zaporah has been a professional physical theater performer, writer, director, and teacher for forty years. Early on she realized that with a shift of perception, every moment of an improvisation holds both the familiar and the utterly new. With the same shift, so does every moment of life; every moment holds both the known and the unknown. And, as Zaporah says, The body leads the way in this book. In each chapter the world is experienced by it and of it. It is the body that adds richness, wildness, and grace. The body invokes images and feelings. It is the body that imagines. Improvisation on the Edge recounts events from Zaporah's life such as improvisational shows in the war zones of Sarajevo and Kosovo; apprenticing with a Huichol medicine woman from Chiapas, Mexico; understanding the concept of practice while on a beach; a bus ride in Cuba; a car ride in Estonia; the intricacies of onstage collaborations. Interspersed are chapters about awareness, listening, adapting, resiliency, time, space, silence, simplicity—all within the context of everyday life in the body. In several other chapters, Ruth writes from the logical (and nonlinear) voice of the improviser as she is on stage, within the immediate embodied process. A fascinating glimpse into the mind of an artist and true master of improvisation, this book will appeal to performers, teachers, and anyone who has ever needed to wing it with confidence and grace. Table of Contents 1. Something That Needs Listening To 2. Mirror Mirror 3. On My Wall 4. Tutu Solitude 5. A Mind in Three Episodes 6. A Splish Splash Orchestra 7. A Take on Talk 8. Bobby's River 9. Roar 10. Meet Yourself Babe 11. Nuts and Bolts 12. Out of Chaos 13. Changing Course 14. The Flying Shaman 15. You Could Say Death 16. Ain't It The Truth 17. The Raging Boomerang 18. See This Feel That 19. Stalking War 20. Your Mother Just Died Christina, Leave the Backdoor Open 21. The Illusive Genture 22. A Pack of Lies 23. Again Gun and Boys 24. A Ride in Estonia 25. Art and Heart 26. Floating to the Surface 27. Stuffed With Junk 28. A Chair in Cuba 29. Any Where Practice 30 Teacher Says 31. Older and Under |
| on the edge improvisation in music: The Musical Edge of Therapeutic Dialogue Steven H. Knoblauch, 2013-06-17 Such nuances and shifts in the music of a patient's voice have long been familiar to clinicians. Indeed, as Steven Knoblauch observes, the music of psychotherapy has been acknowledged across a variety of theoretical orientations, from Freudian to self-psychological to interpersonal and relational perspectives. In The Musical Edge of Therapeutic Dialogue, Knoblauch provides a model of resonant minding in which the musical elements of speech become a major source of information about unconscious communication and action. More specifically, resonant minding, by distinguishing between discrete and continuous levels of communication, between the verbal and the musical, offers a way of accessing and affecting levels of unconscious interactive process by attending to the musical edge of dialogue -- provided only that we can hear it. Drawing on detailed clinical vignettes, he explores shifts in embodied dimensions of musical expression including rhythm, tone, pauses and accents across a sequence of patient-therapist interactions in order to show how the dyadic logic of mutual improvisation operates at the periphery to guide the continuous flow of unconscious communication and mutual regulation. In so doing, Knoblauch provides a vivid sense of how the shifting movement of the patient's solo performance can be facilitated and enriched by the creative accompaniment of the therapist. Ultimately, Knoblauch argues, the music of therapy is not only another road to the unconscious, but one uniquely able to convey emergent meanings in a variety of domains, from conflicting cultural identifications to the experience of the body to the emergence of desire. His vision of mutual immersion in a shared performance aimed at fostering growth coalesces into a major contribution - at once evocative and clinically consequential - to the current movement to grasp nonverbal behavior and processes of mutual regulation as they enter into all effective psychotherapy. |
| on the edge improvisation in music: Tons of Runs for the Contemporary Pianist Andy LaVerne, 1999 A collection of keyboard runs for jazz improvization consisting of melodic motifs and phrases over a variety of chords and chord qualities. Includes chord symbols. |
| on the edge improvisation in music: Musical Improvisation Gabriel Solis, Bruno Nettl, 2009 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. |
| on the edge improvisation in music: Functional Jazz Guitar Ed Byrne, 2010-12-01 Functional Jazz Guitar (Perfect Binding) Learn the skills needed for playing in a jazz group with this fun 255-page method. Practice specific cadence & blues comps; guide-tone & bass lines; rhythms, voicings and licks in major & minor, in all 12 keys - with 185 pages of inter-related sound files. Print and e-book formats available. |
| on the edge improvisation in music: Improvisation, Creativity, and Consciousness Edward W. Sarath, 2013-04-02 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. |
| on the edge improvisation in music: The Oxford Handbook of Critical Improvisation Studies George Lewis, Benjamin Piekut, 2016 V. 1. Cognitions -- v. 2. Critical theories |
| on the edge improvisation in music: The Practice of Musical Improvisation Bertrand Denzler, Jean-Luc Guionnet, 2020-01-09 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. |
| on the edge improvisation in music: Sync or Swarm, Revised Edition David Borgo, 2022-02-10 The revised edition of Sync or Swarm promotes an ecological view of musicking, moving us from a subject-centered to a system-centered view of improvisation. It explores cycles of organismic self-regulation, cycles of sensorimotor coupling between organism and environment, and cycles of intersubjective interaction mediated via socio-technological networks. Chapters funnel outward, from the solo improviser (Evan Parker), to nonlinear group dynamics (Sam Rivers trio), to networks that comprise improvisational communities, to pedagogical dynamics that affect how individuals learn, completing the hermeneutic circle. Winner of the Society for Ethnomusicology's Alan Merriam prize in its first edition, the revised edition features new sections that highlight electro-acoustic and transcultural improvisation, and concomitant issues of human-machine interaction and postcolonial studies. |
| on the edge improvisation in music: CLINICAL IMPROVISATION TECHNIQUES IN MUSIC THERAPY: A GUIDE FOR STUDENTS, CLINICIANS AND EDUCATORS Debbie Carroll, Claire Lefebvre, 2013-08-01 Clinical Improvisation Techniques in Music Therapy: A Guide for Students, Clinicians and Educators provides a clear and systematic approach to understanding and applying improvisational techniques. It is inspired by the taxonomy of clinical improvisation techniques as described by Kenneth Bruscia in his book, Improvisational Models of Music Therapy. Based on years of their own experimenting with the teaching of improvisation, the authors have evolved a particular developmental sequence for introducing basic techniques of improvising and applying them through role-play exercises that have been sensitively designed to bring out one’s innate musicality and one’s empathic regard. Part One provides an introduction to the techniques. Part Two focuses on how to apply the techniques with clinical intent in order to meet the diverse needs of a client, individually or in the context of a group. This section also addresses the need to enrich one’s own musicianship by providing musical resources, relevant references and guidelines for working with client’s playing. This “hands-on” guide fulfills the need for a clear process-oriented approach to mastering clinical improvisation techniques, and in a style that can be understood not only by music therapy students, clinicians and educators but also by health care administrators and providers alike. |
| on the edge improvisation in music: The Big Book of Jazz Guitar Improvisation Mark Dziuba, 2003 Learn to channel improvisational impulses into great solos with this amazing book & CD by outstanding jazz performer and educator, Mark Dziuba. Topics are thoroughly explained and organized into three main categories: instruction in the harmonic and melodic structures of jazz, discussions of practical application, and conceptual issues. Complex subjects are taught with an engaging and friendly style, so things like melodic and rhythmic motifs, phrasing, development, guide tones, chromaticism and functional harmony are easy and enjoyable to learn. This is a must-have book for all jazz guitarists that will be used for years to come. 144 pages. |
| on the edge improvisation in music: Competing on the Edge Shona L. Brown, Kathleen M. Eisenhardt, 1998 In their startling new book, authors Brown and Eisenhardt contend that to prosper in today's fiercely competitive business environments, a new paradigm--competing on the edge--must be implemented as a new survival strategy. This book focuses on specific management dilemmas and illustrates solutions that work when the name of the game is change. |
| on the edge improvisation in music: The Improvising Mind Aaron Berkowitz, 2010-06-17 The ability to improvise represents one of the highest levels of musical achievement. Yet what musical knowledge is 3equired for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? These are some of the questions explored in this unique and fascinating new book. |
| on the edge improvisation in music: The Fierce Urgency of Now Daniel Fischlin, Ajay Heble, George Lipsitz, 2013-06-14 The Fierce Urgency of Now links musical improvisation to struggles for social change, focusing on the connections between the improvisation associated with jazz and the dynamics of human rights struggles and discourses. The authors acknowledge that at first glance improvisation and rights seem to belong to incommensurable areas of human endeavor. Improvisation connotes practices that are spontaneous, personal, local, immediate, expressive, ephemeral, and even accidental, while rights refer to formal standards of acceptable human conduct, rules that are permanent, impersonal, universal, abstract, and inflexible. Yet the authors not only suggest that improvisation and rights can be connected; they insist that they must be connected. Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them. |
| on the edge improvisation in music: Stan Getz - Omnibook Stan Getz, 2019-02-01 (Jazz Transcriptions). 54 Getz songs transcribed for all Eb instruments exactly from his recorded solos. Includes: All the Things You Are * Autumn Leaves * Billie's Bounce (Bill's Bounce) * Blue Skies * Come Rain or Come Shine * Con Alma * Desafinado * Funkallero * Garota De Ipanema * I Remember You * Night and Day * A Night in Tunisia * One Note Samba (Samba De Uma Nota So) * Pennies from Heaven * Quiet Nights of Quiet Stars (Corcovado) * Stella by Starlight * The Way You Look Tonight * Where or When * Yardbird Suite * and more. Also includes a bio of Getz. |
| on the edge improvisation in music: Extended Play John Corbett, 1994 In Extended Play, one of the country's most innovative music writers conducts a wide-ranging tour through the outer limits of contemporary music. Over the course of more than twenty-five portraits, interviews, and essays, John Corbett engages artists from lands as distant as Sweden, Siberia, and Saturn. With a special emphasis on African American and European improvisers, the book explores the famous and the little known, from John Cage and George Clinton to Anthony Braxton and Sun Ra. Employing approaches as diverse as the music he celebrates, Corbett illuminates the sound and theory of funk and rap, blues and jazz, contemporary classical, free improvisation, rock, and reggae. Using cultural critique and textual theory, Corbett addresses a broad spectrum of issues, such as the status of recorded music in postmodern culture, the politics of self-censorship, experimentation, and alternativism in the music industry, and the use of metaphors of space and madness in the work of African American musicians. He follows these more theoretically oriented essays with a series of extensive profiles and in-depth interviews that offer contrasting and complementary perspectives on some of the world's most creative musicians and their work. Included here are more than twenty original photographs as well as a meticulously annotated discography. The result is one of the most thoughtful, and most entertaining, investigations of contemporary music available today. |
| on the edge improvisation in music: The Ultimate Guitar Scale Bible Mark Dziuba, 2014-07-21 This exhaustive study of scales is a must-own for any improvising guitarist. Published in collaboration with one of America's leading guitar schools, it provides the practical information you need to use each scale in a solo. With each scale, you get an explanation of the scale and its uses, a fingering on one string, six-string fingerings in all keys in a cycle of fourths, three-note per string fingerings, and a chord vamp to practice the scale over. Give your playing a unique edge with exotic scales from all over the world. This easy-to-use book even includes a section on how to practice scales. The Ultimate Guitar Scale Bible should be part of every guitarist's library. |
| on the edge improvisation in music: The Jazz Musician's Guide to Creative Practicing David Berkman, 2007 |
| on the edge improvisation in music: Big Ears Nichole T. Rustin, Sherrie Tucker, 2008-11-07 In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture. Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz. Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas |
| on the edge improvisation in music: The Musical Edge of Therapeutic Dialogue Steven H. Knoblauch, 2000 Such nuances and shifts in the music of a patient's voice have long been familiar to clinicians. Indeed, as Steven Knoblauch observes, the music of psychotherapy has been acknowledged across a variety of theoretical orientations, from Freudian to self-psychological to interpersonal and relational perspectives. In The Musical Edge of Therapeutic Dialogue, Knoblauch provides a model of resonant minding in which the musical elements of speech become a major source of information about unconscious communication and action. More specifically, resonant minding, by distinguishing between discrete and continuous levels of communication, between the verbal and the musical, offers a way of accessing and affecting levels of unconscious interactive process by attending to the musical edge of dialogue -- provided only that we can hear it. Drawing on detailed clinical vignettes, he explores the shifts in musical expression across a sequence of patient-therapist interactions in order to show how the dyadic logic of mutual improvisation operates at the periphery to guide the continuous flow of unconscious communication and mutual regulation. In so doing, he provides a vivid sense of how the shifting movement of the patient's solo performance can be facilitated and enriched by the creative accompaniment of the therapist. Ultimately, Knoblauch argues, the music of therapy is not only another road to the unconscious, but one uniquely able to convey emergent meanings in a variety of domains, from conflicting cultural identifications to the experience of the body to the emergence of desire. His vision of mutual immersion in a shared performance aimed at fostering growth coalesces into a major contribution - at once evocative and clinically consequential - to the current movement to grasp nonverbal behavior and processes of mutual regulation as they enter into all effective psychotherapy. |
| on the edge improvisation in music: Forward Motion Hal Galper, 2003 |
| on the edge improvisation in music: Tools for Design, Implementation and Verification of Emerging Information Technologies Jianghua Liu, Lei Xu, Xinyi Huang, 2024-01-04 This book constitutes the refereed post-conference proceedings of the 18th EAI International Conference on Tools for Design, Implementation and Verification of Emerging Information Technologies, TridentCom 2023, which was held in Nanjing, China, during November 11-13, 2023. The 9 full papers were selected from 30 submissions and deal the emerging technologies of big data, cyber-physical systems and computer communications. The papers are grouped in thematical sessions on blockchain and its applications; emerging applications; AI and its security. |
| on the edge improvisation in music: Musical Excellence Aaron Williamon, 2004-06-17 Offers performers, teachers, and researchers, new perspectives and practical guidance for enhancing performance and managing the stress that typically accompanies performance situations. It draws together the findings of pioneering initiatives from across the arts and sciences. |
| on the edge improvisation in music: The Actor's Book of Improvisation Sandra Caruso, Paul Clemens, 1991 |
| on the edge improvisation in music: The Cambridge History of Fifteenth-Century Music Anna Maria Busse Berger, Jesse Rodin, 2015-07-16 Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement. |
| on the edge improvisation in music: Trinity Rock and Pop 2018 Drums , 2019-02 (Drum Instruction). Whether you are self-taught or taking lessons, learning for fun or heading for a career in the music industry, Trinity College London Rock & Pop exams will help you develop valuable playing skills and achieve your musical ambitions. Available for bass, drums, guitar, keyboard and vocals, from initial (beginner) to Grade 8 (advanced), these exams cover a wide variety of music and artists giving a great choice in all rock and pop styles. |
| on the edge improvisation in music: Outside Music, Inside Voices Garrison Fewell, 2015-05-31 Outside Music, Inside Voices, supported by a Faculty Fellowship grant from the Berklee College of Music, was edited by the jazz writer Ed Hazell and by Evelyn Rosenthal, former director of Harvard University Museum Publications. The 330-page book includes a foreword written by Ed Hazell; extensive notations in the footnotes of the author's introduction; individual biographies of each artist and the author; 30 brilliant black-and-white photographs of each artist, taken by Luciano Rossetti. As Herbie Hancock noted in his endorsement, “Garrison Fewell has written a brilliant reflection on creativity and spirituality, delving into the deep relationship between these two subjects that spark the explorations of many pioneers in avant-garde jazz music. The level of detail here is so compelling that it encourages much more than just a single reading of this book.” |
| on the edge improvisation in music: Microgroove John Corbett, 2015-10-11 Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music. Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of little music, which despite its smaller audience is of enormous cultural significance. He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses recording formats; the relationship between music and visual art, dance, and poetry; and, with Terri Kapsalis, the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to “other” music and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing. |
| on the edge improvisation in music: Creative Jazz Improvisation Scott D. Reeves, 2001 Designed for professionals and students alike, the material contained in this comprehensive volume can be applied to any instrument as well as classes or ensembles of varied instrumentation. In Creative Jazz Improvisation, readers will find: Detailed information on how to practice, how to improvise in a creative way, and how to teach jazz improvisation A complete explanation of all aspects of jazz theory and forms Practice materials designed to help the reader gain facility with the jazz vocabulary and develop his or her ear Keyboard, ear-training, and theory exercises Lists of important jazz compositions, indexed to the popular Aebersold play-along recordings Eighteen transcriptions of solos by master jazz artists-- analyzed, transposed, and edited for all instruments The third edition expands on previous editions by adding: A new chapter, Whom to Listen To, which lists major innovators, important contributors, and women in jazz Considerable expansion of the chapter on Rhythm and the section on Creative Jazz Improvisation New transcriptions of solos by Max Roach, Miles Davis, and Bill Evans Inspirational quotations by jazz masters, designed to motivate the student and give insight into the workings of the creative mind Author/trombonist/composer Scott Reeves draws on over twenty-one years of experience teaching at institutions such as the City College of New York, the University of Southern Maine, Virginia Commonwealth University, Memphis State University, and Western Washington University to create a book that covers all aspects of jazzimprovisation without superfluous information. Students and teachers alike will appreciate its accessible, well-organized approach to a complex subject. |
| on the edge improvisation in music: Colliding Worlds: How Cutting-Edge Science Is Redefining Contemporary Art Arthur I. Miller, 2014-06-16 A dazzling look at the artists working on the frontiers of science. In recent decades, an exciting new art movement has emerged in which artists utilize and illuminate the latest advances in science. Some of their provocative creations—a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang (pictured on the cover)—can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google’s Creative Lab, and the MIT Media Lab. In Colliding Worlds, Arthur I. Miller takes readers on a wild journey to explore this new frontier. Miller, the author of Einstein, Picasso and other celebrated books on science and creativity, traces the movement from its seeds a century ago—when Einstein’s theory of relativity helped shape the thinking of the Cubists—to its flowering today. Through interviews with innovative thinkers and artists across disciplines, Miller shows with verve and clarity how discoveries in biotechnology, cosmology, quantum physics, and beyond are animating the work of designers like Neri Oxman, musicians like David Toop, and the artists-in-residence at CERN’s Large Hadron Collider. From NanoArt to Big Data, Miller reveals the extraordinary possibilities when art and science collide. |
| on the edge improvisation in music: The Free Musics Jack Wright (Musician), 2017 This book has been provocative, since it views the situation playersfind themselves in and ignores the perspective of consumers, the media,and academics. It explores their assumptions and practices--their musicalapproach, relations to the music world, to each other, and to the socialorder. It traces the changes in these conditions since the origins ofthese musics. The response to it from musicians has been very strong,many saying it puts their own thoughts into words.--Résumé du site web de l'éditeur. |
| on the edge improvisation in music: Black Music, Black Poetry Gordon E. Thompson, 2016-04-15 Black Music, Black Poetry offers readers a fuller appreciation of the diversity of approaches to reading black American poetry. It does so by linking a diverse body of poetry to musical genres that range from the spirituals to contemporary jazz. The poetry of familiar figures such as Paul Laurence Dunbar and Langston Hughes and less well-known poets like Harryette Mullen or the lyricist to Pharaoh Sanders, Amos Leon Thomas, is scrutinized in relation to a musical tradition contemporaneous with the lifetime of each poet. Black music is considered the strongest representation of black American communal consciousness; and black poetry, by drawing upon such a musical legacy, lays claim to a powerful and enduring black aesthetic. The contributors to this volume take on issues of black cultural authenticity, of musical imitation, and of poetic performance as displayed in the work of Paul Laurence Dunbar, Langston Hughes, Sterling Brown, Amiri Baraka, Michael Harper, Nathaniel Mackey, Jayne Cortez, Harryette Mullen, and Amos Leon Thomas. Taken together, these essays offer a rich examination of the breath of black poetry and the ties it has to the rhythms and forms of black music and the influence of black music on black poetic practice. |
| on the edge improvisation in music: Adrianne Geffel David Hajdu, 2021-09-14 A poignant and hilarious oral history of a (fictitious) musical phenomenon. Adrianne Geffel was a genius. Praised as the “Geyser of Grand Street” and the “Queen of Bleak Chic,” she was a one-of-a-kind artist, a pianist and composer with a rare neurological condition that enabled her to make music that was nothing less than pure, unmediated emotional expression. She and her sensibility are now fully integrated into the cultural lexicon; her music has been portrayed, represented, and appropriated endlessly in popular culture. But what do we really know about her? Despite her renown, Adrianne Geffel vanished from public life, and her whereabouts remain a mystery to this day. David Hajdu cuts through the noise to tell, for the first time, the full story of Geffel’s life and work, piecing it together through the memories of those who knew her, inspired her, and exploited her—her parents, teachers, best friend, manager, critics, and lovers. Adrianne Geffel made music so strange, so compelling, so utterly unique that it is simply not to be believed. Hajdu has us believing every note of it in this slyly entertaining work of fiction. A brilliantly funny satire, with characters that leap off the page, Adrianne Geffel is a vividly twisted evocation of the New York City avant-garde of the 1970s and ’80s, and a strangely moving portrait of a world both utterly familiar and like none we’ve ever encountered. |
| on the edge improvisation in music: Sounding the Full Circle Malcolm Goldstein, 1988 |
| on the edge improvisation in music: Composure Kate Purmal, Lee Epting, 2021-10-19 Many of us experience being overly sensitive and more reactive than we'd like to be throughout the day at work, but why? When we are overly reliant on external validation and reactive to external pressures--driven by fear of judgment, criticism, and failure--we lose our composure. The good news is, like any important skill, composure is something you can learn and cultivate by creating strong personal boundaries, building confidence, developing self-awareness, and aligning yourself and your values. This is what is explored profoundly in this book. Drawing on more than twenty years of experience as corporate executives, executive coaches, and their expertise in neurolinguistics and trauma and PTSD therapy, Kate Purmal and her colleagues Lee Epting and Joshua Isaac Smith deliver a unique approach to navigating work environments that don't feel psychologically safe. Using proven techniques, Composure shows how you can compose yourself to elevate your presence at work, at home, and, ultimately, within yourself. |
| on the edge improvisation in music: Expertise in Jazz Guitar Improvisation Stein Solstad, 2020-04-21 Expertise in Jazz Guitar Improvisation is an examination of musical interplay and the ways implicit (sub-conscious) and explicit (conscious) knowledge appear during improvisation. The practice-based research inquiry includes: interviews and interplay with five world-class jazz guitarists, Lage Lund, Jack Wilkins, Ben Monder, Rez Abbasi and Adam Rogers; a modal matrix for analyzing structure, time and form in jazz guitar improvisation, and musical analysis based on cognitive theories. By explaining the cognitive and musical foundations for expertise in jazz guitar improvisation, this book illuminates how jazz guitarists' strategies are crucially dependent on context, style and type of interplay. With accompanying video provided as an e-resource, this material will be of interest to anyone fascinated by Jazz and Psychology of Music. |
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Microsoft Edge is a proprietary cross-platform web browser created by Microsoft and based on the Chromium open-source project, superseding Edge Legacy. [8][9][10] In Windows 11, Edge is the …
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