Musical improvisation

Choreographic Methods of the Judson Dance Theater Sally Banes is an American writer and dance historian and critic. She is also a professor of theater history and dance studies at the University of Wisconsin-Madison. Banes has written multiple books and contributed to many documentaries and films. The book Moving History / Dancing Cultures, which Banes contributed to, includes the article “Choreographic Methods of the Judson Dance Theater”. This book was published in 2001. Banes introduces her

side has always been very musically inclined. I remember as a young child I would go visit my grandparents in Louisiana, no matter what was going on I would usually end up in the back room where my Grandfather, “Papaw” kept all of his guitars and musical equipment. My Papaw is a fantastic, classically trained blues/ rock guitar player, and he never failed to show off his talents. For hours

for Poland”, there were plenty of blues elementsand improvisation sections, which in my view, were influenced by the Hard Bop Era. I could also hear the influence of the Swing Era in the last piece “Slang”. The big band instrumentation was adapted in this composition, featuring muted trumpets and relatively simple melodies, which brought the evening to an end. Compared to the composed section of the music, the improvisations tended to convey musical ideas and heated up the audience as well. This immediate

I was drawn to this song after first hearing it in the 1965 musical film, The Sound of Music. Although it is a unique twist from the original with improvisation, I enjoyed the bouncier and more upbeat tempo in Coltrane’s interpretation of the song. There is an introduction in the song followed by Coltrane’s solo at 0:18-2:01. This solo played in A begins the melody and is supported by the repeated rhythm of the piano which sets up the rest of the piece. He plays A and vamps in major mode during 0:44-1:01

The Atlanta Percussion Trio Starting with the definition of monophonic and polyphonic. Monophonic is consisting of a single musical line, without accompaniment and polyphonic of an instrument capable of producing more than one note at a time. They also talked about harmony and they defined that as the combination of simultaneously sounded musical notes to produce chords and chord progressions having a pleasing effect. They also mention and demonstrated how to insert courts to a melody. John

edited and shot in such a manner that it matches perfectly with the melody pattern as well as the rhythm of the musical track that is accompanied. It looks as if the music is been created by them, implying that whatever they are doing is also highly artistic it’s not just a mechanical production. This chapter of the movie involves wide use of synchresis and is an ideal example of musical synchresis. Synchresis is the term coined by French theorist Michel Chion which means synchronisation + synthesis

improvisational theater game implemented by Compass Players, a cabaret revue from the 50s. Combining genres and moods to achieve a versatile sonic palette, the group works dynamics whether in nonet or trio, following written material and free improvisation as convenient. “Prelude” opens up the record with a strong rhythmic focus in a sturdy sax-bass-drums trio format, exposing fiery timbral explorations and edgy hooks while binding post-bop stamina and swinging passages. This tradition-modernity

was presented. Each piece lasted for 10-20 minutes in length and Akaji gave a brief introduction of each piece before the start. Led by Akaji, this concert combined classical jazz bass section and jazz form, but explored more possibilities of improvisation of modern jazz. Some of these pieces were written by Akaji himself and had his strong personal style. However, an interesting thing about this concert was that even though those four musicians were playing the same composition, they could express

Cynthia Hilts, a competent and underrated pianist, composer, and singer, associates creativity with a predisposition for musical activism, in her latest album Lyric Fury, released on her own label, Blond Coyote. The album title is also the name of the eight-piece jazz ensemble she leads, which comprises multifaceted musicians such as trumpeter Jack Walrath, saxophonists Lily White (who also produces) and Lisa Parrott, trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer

The drums are one of humanities oldest musical instrument and, like all instruments, the drums continue existing to this day as a method of communication. Previously drumming was often used as a social mediator, played to bring together the community and act as a vehicle in carrying messages and stories, alongside ceremonial use. However, within the last century, the drums have morphed radically into their current potential purpose and capabilities. Drifting from their roots as a vehicle for the