Finance          Automotive          Computers          Health          Shopping          Sports         News          Reference           Print Facts in English - BCUZ.COMlos hechos en Español

Musical improvisation



Examples of famous individuals and rock groups who use improvisation as a composition tool:

  • The Allman Brothers Band - At Fillmore East
  • Barenaked Ladies - one of their concert trademarks is improvising live "raps" and other banters into their shows, sometimes stretching into short songs of their own. This is prevalent on the albums Rock Spectacle and Talk to the Hand: Live in Michigan.
  • Buckethead - Many of his songs are played (live) with entirely improvised solos blending notable signatures by Buckethead.
  • Can - Have been known to do extremely lengthy improvisations and once did a show that lasted for 6 hours.
  • The Cat Empire - Almost all of their live performances include an improvised solo for each member.
  • Cream- Many of their live performances are improvisational jams.
  • Deep Purple - No two live recordings would feature the same solos. Songs would usually stretch beyond the 8 minute mark in most concerts. Their trademark were the guitar-organ duels between their members.
  • Genesis - Much of their album material stemmed from a studio improvisation.
  • Grateful Dead
  • Jimi Hendrix - Highly improvisational during concerts and on most recordings. One of the most notable demonstrations of Hendrix's improvisational mastery is a performance of "Machine Gun", live at the Fillmore East.
  • Bruce Hornsby - All of his work from 1990 onward.
  • Keith Jarrett — solo piano performances
  • King Crimson - Often improvise complete songs as a sound check and during the live shows.
  • Led Zeppelin - During live performances, many songs, especially Dazed and Confused, could last up to a half an hour.
  • The Mars Volta
  • The Necks - Live performances are improvisational pieces of up to an hour in length.
  • Phish - Phish wrote music and played it in the studio, then jammed to it and improvised on the stage.
  • Pink Floyd (Live at Pompeii)
  • Primus - Are known to go on lengthy improvisational jams during shows.
  • Red Hot Chili Peppers - A large amount of their live shows are improvisational.
  • Sonic Youth (Sonic Death)
  • Supersilent
  • The Velvet Underground - Sister Ray
  • Frank Zappa
  • Dire Straits - Every live show is improvised, or played "around" the original. Mark Knopfler who plays guitar used to improvise during studio recordings also. Examples: Alchemy: Dire Straits Live, On the Night.

[

See also

[

Bibliography

  • Adorno, Theodor W. 1973. The Jargon of Authenticity, translated by Knut Tarnowski and Frederic Will. Evanston, Ill.: Northwestern University Press. ISBN 0810104075
  • Adorno, Theodor W. 1981. Prisms, translated from the German by Samuel and Shierry Weber. Studies in Contemporary German Social Thought. Cambridge, Mass.: MIT Press. ISBN 0262510251 ISBN 026201064X
  • Adorno, Theodor W. 1997. Aesthetic Theory, translated by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press. ISBN 0816617996
  • Bailey, Derek. 1992. Improvisation: It's Nature and Practice in Music, revised edition. London: British Library National Sound Archive. ISBN 0712305068
  • Berliner, Paul. 1994. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press. ISBN 0226043800 (cloth); ISBN 0226043819 (pbk.)
  • Brown, Howard Mayer. 1976. Embellishing Sixteenth-Century Music. Early Music Series 1. London: Oxford University Press. ISBN 0193231751
  • Czerny, Carl. 1833. L’art de préluder: mis en pratique pour le piano par 120 examples de préludes, modulations, cadenses et fantaisien de tous genres. Paris: M. Schlesinger.
  • Dalla Casa, Girolamo. 1584. Il vero modo di diminuir, con tutte le sorti di stromenti di fiato, & corda, & di voce humana. 2 vols. Venice: Angelo Gardano. Facsimile reprint, in one volume, Bibliotheca musica Bononiensis, sezione 2, no. 23 (Bologna: Arnoldi Forni Editore).
  • Ferand, Ernest T. 1938. Die Improvisation in der Musik; eine Entwicklungsgeschichtliche und Psychologische Untersuchung. Zürich: Rhein-Verlag.
  • Friedrich, Otto. 1989. Glenn Gould: A Life and Variations. New York: Random House. ISBN 039457771X
  • Ganassi, Silvestro. 1535. Opera Intitulata Fontegara: Laquale insegna a sonare di flauto ch'o tutta l'arte opportuna a esso instrumento massime il diminuire ilquale sara utile ad ogni istrumeno di fiato et chorde: et anchora a chi si dileta di canto. Venice: per Syluestro di Ganassi dal Fontego, Sonator dalla illustrissima signoria di Venetia hautor pprio. Facsimile reprints, Collezione di trattati e musiche antiche edite in fac-simile (Milan: Bollettino bibliografico musicale, 1934) and Bibliotheca musica Bononiensis, Sezione II, no. 18 (Bologna: Forni, 1969). German edition, edited by Hildemarie Peter (Berlin-Lichterfeld: Robert Lienau, 1956). English edition with translation by Dorothy Swainson of Peter's German text (Berlin-Lichterfeld: Robert Lienau, 1959).
  • Griffiths, Paul. 2001. "Improvisation §II: Western Art Music 6: The 20th Century". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
  • Guido d'Arezzo. 1978. "Micrologus" [ca. 1027], translated by Warren Babb. In Hucbald, Guido, and John on Music: Three Medieval Treatises, edited, with introductions, by Claude V. Palisca; index of chants by Alejandro Enrique Planchart, 57–83. Music Theory Translation Series 3. New Haven and London: Yale University Press. ISBN 0300020406
  • Hall, Lucy. 2002. "They're Just Making It Up—Whatever Happened to Improvisation in Classical Music?" The Guardian 22 February[citation needed]
  • Heartz, Daniel. 1958–63. "The Basse Dance, Its Evolution Circa 1450 to 1550". Annales Musicologiques 6:287–340.
  • Horsley, Imogene. 2001. "Improvisation II: Western Art Music 2: History to 1600". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
  • Hotteterre, Jacques-Martin. 1719. L’art de préluder: sur la flûte traversière, sur la flûte à bec, sur le hautbois et autres instrumens de dessus, op. 7. Paris: Boivin. Facsimile reprints: recueillie par Michel Sanvoisin (Paris: A. Zurfluh, 1966), (Geneva: Minkoff, 1978) ISBN 2826606727, and Archivum musicum: L’art de la flûte traversière 55 (Florence: SPES, 1999). ISBN 8872427797 Musical pieces edited by Erich Doflein and Nikolaus Delius as 48 Préludes in 24 Tonarten aus op. VII, 1719, für Altblockflöte (Querflöte, Oboe). Mainz: B. Schott’s Söhne; New York: Schott Music Corp., 1972.
  • Kertz-Welzel, Alexandra. 2004. "Piano Improvisation Develops Musicianship." Orff-Echo 37, no. 1:11–14.
  • Koenig, Wolf, and Roman Kroitor (prod./dir.). 1959a. Glenn Gould: Off the Record. Film, 30 mins. [Canada]: National Film Board of Canada.
  • Koenig, Wolf, and Roman Kroitor (prod./dir.). 1959b. Glenn Gould: On the Record. Film, 30 mins. [Canada]: National Film Board of Canada.
  • Kutschke, Beate. 1999. "Improvisation: An Always-Accessible Instrument of Innovation". Perspectives of New Music 37, no. 2. (Summer): 147–62.
  • Mozart, Wolfgang Amadeus. 1953. Concerto No. 24 In C Minor for Piano, edited by Franz Kullak. New York: G. Schirmer.
  • Nachmanovitch, Stephen. 1990. Free Play: Improvisation in Life and Art. Los Angeles: J.P. Tarcher, Inc.; New York: Distributed by St. Martin's Press. ISBN 0874775787 (cloth); ISBN 0874776317 (pbk)
  • Ortiz, Diego. 1553. Trattado de glosas sobre clausulas y otros generos depuntos en la musica de violones. Nuevamente puestos en Luz (also in Italian, as El primo libro nel quale si tratta delle glose sopra le cadenze et altre sorte de punti in la musica del violone). 2 vols. Rome: Dorico. Facsimile reprint of the Italian edition, Archivum musicum 57 (Florence: Studio per edizioni scelte, 1984). Transcription, edition, and German translation by Max Schneider (Kassel: Bärenreiter, 1936).
  • Polk, Keith. 1966. "Flemish Wind Bands in the Late Middle Ages: A Study of Improvisatory Instrumental Practices". Ph.D. dissertation. Berkeley: University of California.
  • Schopenhauer, Arthur. 1958. The World as Will and Representation. Translated from the German by E. F. J. Payne, 2 vols. [Indian Hills, Colorado]: Falcon's Wing Press.
  • Thomas de Sancta Maria, fray. 1565. Libro llamado Arte de tañer fantasia: assi para tecla como para vihuela, y todo instrumento, en que se pudiere tañer a tres, y a quatro vozes, y a mas ... Elqual por mandado del muy alto Consejo real fue examinado, y aprouado por el eminente musico de Su Magestad Antonio de Cabeçon, y por Iuan de Cabeçon, su hermano. Valladolid: F. Fernandez de Cordova. Facsimile editions: with an introduction in English by Denis Stevens (Farnborough, UK: Gregg International Publishers, 1972) ISBN 0576282294; Monumentos de la música española 75, edited by Luis Antonio González Marín, with the collaboration of Antonio Ezquerro Estaban, et al. (Barcelona: Consejo Superior de Investigaciones Científicas, Institución "Milà i Fontanals," Departamento de Musicología, 2007). ISBN 9788400085414 ISBN 8400085418 English translation by Warren E. Hultberg and Almonte C. Howell, Jr, as The Art of Playing the Fantasia (Pittsburgh, Pa.: Latin American Literary Review Press, 1991) ISBN 0935480528
  • Von Gunden, Heidi. 1983. The Music of Pauline Oliveros. Metuchen, NJ: Scarecrow Press. ISBN 0-8108-1600-8.

[

Footnotes

  1. ^ Friedrich 1989[citation needed]
  2. ^ On the other hand, if improvisation were to give itself over to free aesthetic innovation, it might also be asked why improvisation was used to introduce the new concepts.
  3. ^ Gould made this statement during the interview where he played Mozart's Piano Sonata No. 11 (Mozart),[citation needed] but expressed the same view at other times. This can be seen on a video released with Czech subtitles.[citation needed]
  4. ^ While discussing the Art of The Fugue with Bruno Monsaingeon, Gould describes the later Bach not in basic aesthetic terms, but as an endlessly expanding universe of shades of gray, or colorless contrapuntal texture. Gould was quoting Albert Schweitzer on the first fugue, but felt this description apt for the final fugue. In a 1959 filmed interview, either in Glenn Gould: Off the Record or Glenn Gould: On the Record, Gould had also lamented the end of the common practice period. He illustrated his opinion with a thought experiment, arguing that a child raised with only atonal music would eventually show an original interest in tonality.
  5. ^ Koenig & Kroitor 1959a or 1959b.[citation needed]
  6. ^ See Glenn_Gould#Philosophical_and_aesthetic_views.
  7. ^ This opinion was expressed in the Sonata No 11 performance aforementioned, and is reflected in all of his recordings of Mozart's sonatas.[citation needed]
  8. ^ Adorno 1997, 99.
  9. ^ Adorno 1997, 116.
  10. ^ Adorno 1981,[citation needed], and Adorno 1973,[citation needed], respectively.
  11. ^ Horsley 2001.
  12. ^ Brown 1976, viii.
  13. ^ E.g., Ganassi 1535; Ortiz 1553; Dalla Casa 1584.
  14. ^ Brown 1976, viii–x.
  15. ^ Thomas de Sancta Maria 1565.
  16. ^ Hotteterre 1719.
  17. ^ Schopenhauer 1958:2, 454ff.
  18. ^ Adorno 1997, 183.
  19. ^ Adorno 1997, 200. Adorno did not mention fugue improvisation, nor described at length how emulation of Bach's fugues is impossible or unwise.
  20. ^ Adorno 1997, 221.
  21. ^ It has been suggested that the opening chords of Beethoven's Sonata Opus 78 communicate feelings for a young lady then in Beethoven's life, possibly Josephine von Brunswick. (In Heinrich Schenker's remarks in his edition of Beethoven's Sonatas, vol. 2, Dover Publications.) Also, to his fiancée, Giulietta Guicciardi, Beethoven dedicated the so-called "Moonlight" Sonata, which is in part modelled on Mozart's improvisatory d minor fantasy.[citation needed]
  22. ^ Mozart, 1953, 14. Otherwise this appears in a brief chromaticism within a theme or melody such as in Mozart's Symphony No. 40 in g minor, first movement, in the transition to A flat Major, or in Beethoven's 3rd piano concerto, in the cadence of the secondary theme. This is accomplished by a series of tritone chords in the treble.
  23. ^ The manner in which these modes are to be treated in modulation is not peremptory, and could account for the distinct sound of an improvisor or composer.[citation needed]
  24. ^ Mozart 1953, 16 and 17[citation needed].
  25. ^ For Adorno, classical music and Beethoven in particular have a truth content on the one hand, and on the other hand, and relatedly, also an ecstatic contemplation of the oneness of things.[citation needed]
  26. ^ Adorno 1997, 220.
  27. ^ Adorno 1997, 185.

[

Articles

[

External links




BCUZ.com FACTS Encyclopedia content is licensed under the GFDL as approved by Wikipedia.
For more information review our copyright contact and privacy policy.
© 1996 - BCUZ.COM - We have all the FACTS you need about Small Business Financing, Behavior Disorder, Having Too Many Bills, Needing Cash Fast, Structured Settlements, Frequent Flier Programs, Top Steak Houses, The Mayan Indians, Norfolk and Suffolk England, Growing Longer Hair and a full reference English Encyclopedia and Spanish Encyclopedia.Privacy Policy