Docentes

Critério de Avaliação

Critérios de Avaliação:

1) Presença

2) Elaboração de texto dissertativo

3) Criação musical (concerto)

Bibliografia

Improvisation as anarchist organization

David M. Bell ephemera 2014

 

Musical friends and foes: The social cognition of affiliation and control in improvised interactions

Jean-Julien Aucouturier ⇑, Clément Canonne 2017

CNRS Sound and Technology of Music and Sound (UMR9912, CNRS/IRCAM/UPMC), 1 Place Stravinsky, Paris France

 

The Art of Becoming: How Group Improvisation Works - D. J. Schmalenberger

 

Choice: Current Reviews for Academic Libraries 2021 Vol. 58 Issue 11 Pages 1084-1084

 

Creativity, Cognitive Mechanisms, and Logic

Ahmed Abdel-Fattah, Tarek Besold, and Kai-Uwe Kühnberger University of Osnabrück, Albrechtstr. 28, Germany,

 

Play together, think alike: Shared mental models in expert music improvisers

Cle ́ment Canonne
Department of Musicology, Universite ́ de Bourgogne, Dijon (France)

Jean-Julien Aucouturier

Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of

Spontaneity
Author(s): R. Keith Sawyer
Source: The Journal of Aesthetics and Art Criticism, Vol. 58, No. 2, Improvisation in the Arts (Spring, 2000), pp. 149-161
Published by: Wiley on behalf of The American Society for Aesthetics
Stable URL: http://www.jstor.org/stable/432094
Accessed: 27-09-2017 21:51 UTC

 

Organizational Improvisation and Organizational Memory
Author(s): Christine Moorman and Anne S. Miner
Source: The Academy of Management Review, Vol. 23, No. 4 (Oct., 1998), pp. 698-723 Published by: Academy of Management
Stable URL: http://www.jstor.org/stable/259058 .

Accessed: 23/09/2013 16:39

 

Johnson-Laird, P. N. (1988). Freedom and constraint in creativity. In R. J. Sternberg (Eds.), The nature of creativity: contemporary psychological perspectives. Cambridge: Cambridge University Press.

 

COGNITIVE PROCESSES IN IMPROVISATION

Jeff Pressing La Trobe University

Elsevier Science PublishersB.V.(North-Holland), 1984

 

Musical Creativity

Multidisciplinary Research in Theory and Practice

Edited by
Irène Deliège and Geraint A. Wiggins 2006

 

Distributed Creativity

COLLABORATION AND IMPROVISATION IN CONTEMPORARY MUSIC

Edited by
Eric F. Clarke Mark Doffman Oxford 2017

 

 

BAILEY, Dereck. Improvisation: its nature and practice in music. USA: Da Capo Press, 1993.

 

NACHMANOVITCH, Stephen. Ser criativo: o poder da improvisação na vida e na arte.

Trad. Eliana Rocha. São Paulo: Summus, 1993.

 

Sound & Score

Essays on Sound, Score and Notation

Edited by
Paulo de Assis William Brooks Kathleen Coessens 2014

 

Roger T. Dean, Freya Bailes & Jon Drummond (2014) Generative Structures in Improvisation: Computational Segmentation of Keyboard Performances, Journal of New Music Research, 43:2, 224-236, DOI: 10.1080/09298215.2013.859710

 

GIVAN, Benjamin. "Jazz Taxonomies". Jazz Research News 10 (2003): 472–86

 

                       IMPROVISATION:  METHODS AND MODELS

in: Generative processes in music
(ed. J. Sloboda) Oxford University Press 1987

                                  Jeff Pressing

 

 

                       IMPROVISATION:  METHODS AND MODELS

in: Generative processes in music
(ed. J. Sloboda) Oxford University Press 1987

                                  Jeff Pressing

 

ROger Dean New Structures in jazz an improvised music since 1960 - 1992 open university press

 

Musical Improvisation and the Academy

JESSE STEWART

Department of Music | Carleton University | Canada* 2016

 

Fazendo música juntos ou improvisação e seus outros

Nicholas Cook (Royal Holloway, UK) Nicholas.Cook@rhul.ac.uk  2007 (trad., Boren)

 

Studies in Historical Improvisation
From Cantare super Librum to Partimenti

Edited by Massimiliano Guido  routledge 2017

 

Callingham, Andrew Edward (2007) Spontaneous music : the first generation British free improvisers. Doctoral thesis, University of Huddersfield.

 

Improvisation: An Always-Accessible Instrument of Innovation Author(s): Beate Kutschke

Source: Perspectives of New Music , Summer, 1999, Vol. 37, No. 2 (Summer, 1999), pp. 147-162

Published by: Perspectives of New Music

The Cognitive Neuroscience of Improvisation

Aaron L. Berkowitz

The Oxford Handbook of Critical Improvisation Studies,  TODOS OS ARTIGOS DESTA COMPILAÇÃO Volume 1 Edited by George E. Lewis and Benjamin Piekut

 

 

Cardew, Cornelius. 1971. “Towards an Ethic of Improvisation”. In: Treatise Handbook, pp. 17- 20. New York and London: Edition Peters.

 

Cannone, Clément and Nicholas Garnier. 2015. “Individual Decisions and Perceived Form in Collective Free Improvisation”. Journal of New Musical Research 44 (2): 145-167.

Caporaletti, Vincenzo. 2005. I processi improvvisativi nella musica: un approccio globale. Lucca: Libreria Musicale Italiana.

 

COSTA, R.L.M. A improvisação livre, a construção do som e a utilização das novas tecnologias. Revista Música Hodie, Goiânia, V.15 - n.1, 2015, p. 119-131

 

The Routledge Handbook of Philosophy and Improvisation in the Arts

Edited by
Alessandro Bertinetto and Marcello Ruta

 

Freedom and Responsibility: The Aesthetics of Free Musical Improvisation and Its Educational Implications—A View from Bakhtin

Author(s): Panagiotis A. Kanellopoulos
Source: Philosophy of Music Education Review , Vol. 19, No. 2 (Fall 2011), pp. 113-135

 

 

 

Alessandro Bertinetto The Aesthetic Paradox of Artistic Improvisation

(and its Solution) Proceedings of the European Society for Aesthetics

Volume 13, 2021 Edited by Vítor Moura and Connell Vaughan

 

 

From Music to Sound

The Emergence of Sound in 20th- and 21st-Century Music

Makis Solomos

Routledge 2020

 

 

Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session

Roger Mills
University of Technology Sydney Sydney, NSW, Australia

Springer Series on Cultural Computing , 2019

Images to Play: an Improvisation Model between Visual Arts and Music Chapter · January 2020

Sandra Fortuna

 

Prescriptive and Descriptive Music-Writing
Author(s): Charles Seeger
Source: The Musical Quarterly , Apr., 1958, Vol. 44, No. 2 (Apr., 1958), pp. 184-195 Published by: Oxford University Press

 

Investigating the cognitive foundations of collaborative musical free improvisation

Experimental case studies
using a novel application of the subsumption architecture

Author:

Adam Linson open university 2014

 

MATTEO CIACCHI

IMPROVISAÇÃO LIVRE E FORMA: Processo criativo entre estímulos e efeitos , 2019

 

IM-OS Carl Bergstrøm-Nielsen

 

Performance na música experimental

Fernando Iazzetta  Performa ’11 – Encontros de Investigação em Performance Universidade de Aveiro, Maio de 2011

Conteúdo

Contexto e história da Improvisação Contemporânea, autores e artistas fundamentais;

Características da Improvisação como fluxo e conversa, autonomia criativa;

Modelos de Escuta, Risco, Imaginário, Criatividade e Invenção;

Hipermodernismo e estética da sonoridade;

Modelos, propostas e estratégias em Livre Improvisação;

A palavra-conceito como estopim de fluxo e interação criativa;

Endoconceitos e hipóteses cognitivas no processo criativo;

Ferramentas de análise em práticas de música improvisada;

Exercícios práticos selecionados dirigidos, produção de concerto final.

Metodologia

Aulas expositivas, leitura de textos selecionados e discussões, audição comentada, atividades práticas em improvisação musical.

Observação

Como o curso prevê uma parte prática, é importante que os alunos toquem algum instrumento musical (tradicionais, digitais, objetos, experimentais, feitos-à-mão, etc.)