Music And Classical Music

Music And Classical Music
Classical music has been around for centuries, beginning ever since people could put notes onto
paper. The art of fully notating and performing compositions shaped classical music to become
iconic pieces in modern day society. This music can be defined in many ways; one specifically is
categorizing it as the "common practice period." The Oxford Dictionary of Music uses this term to
define a period encompassing the baroque (1600–1750), classic (1750–1830), and romantic (1830–
1900) eras. Between the 17th and 20th centuries, famous composers such as Mozart and Beethoven
combined the two common practices of "voice–leading" and "harmonic conventions" to create the
unique sounds of classical music (Tymoczko 213). Through this period, the birth ... Show more
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A live orchestra was recorded playing various pieces composed by Bach, Beethoven, Tchaikovsky,
and many others (Clague, 2004, pp. 91–93). Fast forward 9 years, Looney Tunes released a short
cartoon titled Rabbit of Seville inspired by and featuring Rossini's composition Barber of Seville.
This came almost 150 years after the piece was first performed yet became an iconic tune to those
who watched the cartoon (Roberts, 2017). Then in 1968 Strauss' piece Also Sprach Zarathustra
boomed in theaters in the opening credits of "2001: A Space Odyssey" (Wise, 2014). These three
examples show how well–known media used classical compositions successfully. Although the
pieces were, at one point, not familiar to their audience, after constant exposure they became a part
of their musical knowledge. The recognizability of each song allowed connections and associations
to be made so that even if the film was not being shown, the listener could link it to what movie it
was from.
The ability for teenagers to recognize classical hits is illustrated in a study done by Kimberly
VanWeelden (2012), a music professor at Florida State University. In the preface of her experiment,
VanWeelden (2012) mentioned how using classical repertoire created paired associations for
listeners (p. 14). Essentially, society has grown accustomed to hearing classical pieces and now
associate them with certain feelings. Marketers and producers use
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Improvisation Theatre History
Improvisational theatre, often called improv or impro, is the form of theatre, often comedy, in which
most or all of what is performed is unplanned or unscripted: created spontaneously by the
performers. In its purest form, the dialogue, action, story, and characters are created collaboratively
by the players as the improvisation unfolds in present time, without use of an already prepared,
written script. Improvisational theatre exists in performance as a range of styles of improvisational
comedy as well as some non–comedic theatrical performances. It is sometimes used in film and
television, both to develop characters and scripts and occasionally as part of the final product.
Improvisational techniques are often used extensively in drama programs to train ... Show more
History The earliest well documented use of improvisational theatre in Western history is found in
the Atellan Farce of 391 BC. From the 16th to the 18th centuries, commedia dell'arte performers
improvised based on a broad outline in the streets of Italy. In the 1890s, theatrical theorists and
directors such as the Russian Konstantin Stanislavski and the French Jacques Copeau, founders of
two major streams of acting theory, both heavily utilized improvisation in acting training and
rehearsal. Modern Modern theatrical improvisation games began as drama exercises for children,
which were a staple of drama education in the early 20th century thanks in part to the progressive
education movement initiated by John Dewey in 1916. Some people credit American Dudley Riggs
as the first vaudevillian to use audience suggestions to create improvised sketches on stage.
Improvisation exercises were developed further by Viola Spolin in the 1940s, 50s, and 60s, and
codified in her book Improvisation For The Theater, the first book that gave specific techniques for
learning to do and teach improvisational

Meaning Of Music Meaning
In "Music, Language, and Composition" Adorno, Theodor W. argues that "To interpret language
means to understand language; to interpret music means to make music. Musical interpretation is the
act of execution..."(115). However, in The Souls of Black Folk, W.E.B Du Bois seems to point out
that music carries intention, history, and experiences. Music could be a way to share one's feelings
and experiences that could not be expressed with the same emotional impact if they were just told
through speaking. In other words, Du Bois seems to argue that music does have meaning and to
understand music is to be able to express the intention behind or in the music. It is important to note
that Adorno's focus of music in "Music, Language, and Composition" is primarily classical music
and Du Bois' focus appears to be on music with lyrics. Therefore, music for Adorno had no explicit
signifying words. However, rhythm and tone exist in both cases.
In "Music, Language, and Composition" Adorno acknowledges that music is like signifying
language in many ways, from its structure to how it is formed. However, music is different from
signifying language because it does not have to be created with a solid intention or meaning. In
signifying language, the structure and combination of phrases to speech is, to some extent, strategic.
The formation of signifying language is strategic because the goal of the formation of the phrase is
to express something solid and with certainty as to what it's meaning is. The words that are selected
and the sentences that are formed from those words, were chosen and created because meaning
needs to be told to others in an accurate manner, so that they'll be able to understand that same
meaning. As for music, Adorno seems to claim that, contrary to signifying language, the intent of
which is to communicate a solid meaning, music does not need to have any firm goals related to
meaning or solid intentions. Instead, the musician will make the music vague because in making the
music ambiguous, the music will have the potential to link to multiple meanings that will vary based
on the listener. In other words, the listener will be the one to decide the meaning.
To add to this, when Adorno says, "tthe whole is

Peterson's Influence On My Ministry
It is difficult to choose a single book or author that has influenced me. Miroslav Volf helped me to
understand grace and forgiveness in a new way that has impacted my ministry (Volf, 2005). Eugene
Peterson showed me that ministry looks different for every person and in every context (Peterson,
1992). Donald Miller reminded me of how Christianity looks from the outside (Miller, 2004). And
Fernando Arzola Jr. gave me an entirely new paradigm for youth ministry (Arzola, 2008). But the
book that most resonated with my own calling was Slow Church, written by C. Christopher Smith
and John Pattison a few years ago. This book told many stories and covered a diversity of topics, but
the few that stood out the most to me were their understanding of ... Show more content on
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Smith and Pattison reminded us that an "emphasis on homogeneity seems to imply that [the church
growth movement] sets its sights on something less than God's reconciliation of all humanity and all
creation (Smith & Pattison, 2014, p. 110). In my own ministry, I have focused on reconciliation
between generations and ethnic groups, but there is still so much work in those areas and others that
needs to be done. And a change of heart is needed for many of us, as we learn to let go of our most
sacred cows for the sake of God's kingdom.
I desire to be part of a community that values creativity in how we partner with God in ministry,
commitment to a particular people and place, and the necessary work to facilitate reconciliation
between all people and God. Slow Church helped me to better articulate these ideas, but I am still
learning how to lead others in living them out. As Smith and Pattison reminded me repeatedly
through their book, these are all ordinary things, lived out in our day to day lives (Smith & Pattison,
2014, p. 223). It is my intention and my hope, by the grace of God, to keep practicing them for as
long as I have

The Music Of Jazz And Commercial Music
Description This ensemble is comprised of an auditioned group of 7th and 8th graders who have had
at least one complete year of musical instruction. In this ensemble, the students will be exposed to
different styles of the American musical art form of jazz which would include but not be limited to:
swing, bebop, ballads, Latin/Afro–Cuban, and Commercial (Rock). The big band will rehearse and
perform pieces and arrangements of the preceding styles as well as work on introductory jazz
improvisatory skills (language, chord relationships, scale relationships, etc.). Along with being
within a big band setting, the students will have the opportunity to perform in combo settings to help
refine their growing improvisation skills as well as nurture critical listening skills. The course will
also be supplemented with lectures on the history and development of jazz and commercial music as
well as listening sessions to place musical styles in appropriate contexts.
Standards and Objectives
The following standards are referenced from the 2014 National Association for Music Education
music standards:
MU:Cr1.1.E.5a Compose and improvise melodic and rhythmic ideas or motives that reflect
characteristic(s) of music or text(s) studied in rehearsal.
MU:Cr3.1.E.5a Evaluate and refine draft compositions and improvisations based on knowledge,
skill, and teacher– provided criteria.
MU:Cr3.2.E.5a Share personally– developed melodic and rhythmic ideas or motives – individually
or as an ensemble

Anand Thaker: A Concert Analysis
This is my first piece, and I thank Anand Thaker for the idea and encouragement. In February 2014,
I did something I hadn't done before. I didn't know what to expect, and I couldn't guess the future
impact it would have...I went to an improv show. At the time, attending a show seemed insignificant.
Not knowing what to expect, I saw how hilarious and entertaining improv shows can be, and I
learned that scenes were the result of audience suggestions. I was amazed seeing characters coming
to life unscripted. The best way to describe a show is adult playtime. After seeing the show, I
entertained the idea of taking a class, but other pursuits took me away. However in Fall 2015, I
listened to a podcast revolved around a guy undergoing personal development. Improv was one ...
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Knowing that you have fellow improvisers will "Yes, and" you and you returning the favor will
allow you to be emboldened in the choices you make. Personal and social relationships won't exist
without trust and knowing those close to you support you even if they might not agree with what
you are

Reflection Paper On Observation
On September 26th, I observed class due to an injury. During my observations, I found myself
reflecting on what was happening in class at the moment and on my previous work in the class. I
strongly feel that observing is beneficial to the study of dance because it forces students to study not
only the professor but also their classmates and ways they can connect what they see to what they
need to do themselves. During my observations, I noted many moments of instruction and critique
that I can apply to my own movement, but also took time to notice the habits of my classmates that I
feel contribute to an enriching learning environment. Before I was injured, I felt that I was doing
well in the class. Tap is something I haven't studied since I was small, so it has been nice to revisit
the art form. Looking back on the first few weeks, I found that I could easily understand the theory
and rhythm of a movement, but I often had a difficult time putting that knowledge into my body; I
could explain to you what needed to happen, but it didn't always translate to my feet. This could be
frustrating as I knew what needed to happen but didn't know why I wasn't able to do it physically. I
decided that my time observing would be well spent trying see what other students and the professor
were doing that I might not be so that I may apply that knowledge to my own movement once I was
back on my feet. One of the biggest ideas I observed was the importance of effort and intention. In
the

Comparing the Modern Organizational Theory and...
"Organization theory deals with the formal structure, internal working, and external environment of
complex human behavior within organizations. As a field spanning several disciplines, it prescribes
how work and workers out to be organized and attempts to explain the actual consequences of
organizational behavior (including individual behavior) on work done and on the organization
itself."(Gordon and Milkavoich, 147) It has been evolving for centuries on how should work be
done in the public administration and how the organization should be. "Research findings have
emerged about what motivates workers and how different incentives affect various tasks, employees,
and situations; and the environments in which they operate." (Gordon and ... Show more content on
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Improvisation is made inevitable in a situation where problems must be dealt with expediently and
on the spur of the moment. Taking into consideration the conflict between the Arabs and the Israelis,
improvisation is essential to running administrations. The formal theory such of Max Weber cannot
apply since its framework of rules and procedures are to ensure stability, predictability, and
reliability of performance; yet, with no stability or predictability in the environment these theories
only fall short of their expectations. Rational panning has already been pointed out a century ago by
Herbert Simon (1976) to be "bounded" by many factors such as: "skills, habits, and reflexes, values,
etc, which makes it impossible to achieve rational planning that is suited for the
situation…Moreover, rational planning does not have primary value in Israel's cultural
heritage. Survival in the Diaspora often depended on an ability to act quickly, with limited
resources, under harsh, changing, and uncertain conditions."(Sharkansky and Zalmanovitch, 2) With
endless terrorism, continuous war, and a population growth that shifts from month to month there is
the perpetual challenge to respond to each situation expediently and ingeniously. Even with the
scientific management organizational theory, the formal structure and rules, the highly centralized
top management levels, and especially the standardizing procedures would make policy–making

Music Is All Around Us
Music is all around us. At the start of the 21st century, technology in industrialised societies
provides us with easy access to a vast amount of recorded music. We can listen to our favourite
music at home, in the car, on the train; on home stereos, personal stereos, and through our
computers. We are also often surrounded by music which we have not chosen, at the shops, waiting
for a train, even at the doctor's.
Research is beginning to show how music has the power to change the way we feel, think, and
behave. We know that music can lift our mood, and certain kinds of music can temporarily boost
specific kinds of intelligence. Listening to our favourite music can even help us tolerate high levels
of pain.
What do we know about how young children engage with music? There has been quite a lot of
research looking at the very early years. We know that babies can remember music from even before
birth. My own study with the Child of Our Time group in 2001 showed that exposure to a particular
piece of music before birth had long–lasting effects, as the babies seemed to prefer listening to that
music up to 15 months after birth. Other studies have explored the features of maternal singing,
showing how this can make the baby feel calm.
There are also studies of babies' responses to music in the lab that show them to be really very
sophisticated listeners. In their first year, babies can notice all kinds of small differences in musical
sequences, and are even better than

Musical Event In Preparation For This Event, I Was Somewhat
Musical Event In preparation for this event, I was somewhat versed in classical music. Many of the
pieces I heard were either referenced in the text, or I have heard them before. I did not have any
preconceived notion as to what the playlist would consist of before I attended the event. There were
many classical tracks played throughout the event, most of which had jazz influences from the
members of the Englewinds. It was all very refreshing and spontaneous, something which I did not
expect from the event. There were times in the beginning when they were primarily focused on the
classical era of music, but they soon mixed the music into a fusion of both classical and jazz, and
eventually moved into jazz. Since both classical and jazz ... Show more content on Helpwriting.net
...
The first half of the classical era focused on simple and decorative music, while the second half
witnessed the rise of thematic development, which focused on manipulating melodies for the
intellectual enjoyment of exploring the possibilities inherent in a tune (Chiego, 2014, pg 11). This
was evident in some of the pieces played throughout the concert. Some of the most notable
composers for this time were Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van
Beethoven and Franz schubert. Jazz is dated back to the early twentieth century in America. It
incorporates ragtime, blues, repeating chord progressions and improvisation (Chiego, 2014, pg 139).
There are many different subgenres of Jazz, from New Orleans, to Chicago Style, to Big Band or
Swing (Chiego, 2014, pg139–141).
The musical performance I viewed was at the Shea Center at William Paterson University. The
performance was called "Englewinds' BEES, PLEASE!". It was a very clean auditorium and the
atmosphere was filled with a suppressed excitement. As I took my seat, it was only a matter of time
before the music started. The attire of the performers was also casual, but in a uniform sense. The
announcer came on stage and welcomed everyone, and soon after, the Englewinds came out and
played various classical pieces using various woodwinds, brasswinds, and a percussion instrument.
This event was played with all woodwinds, brasswinds, and a percussion

Budget Cuts are Destroying Music Education: Music...
Throughout history music has played an important role in society, whether it was Mozart moving
people with his newest opera or the latest album from the Beatles. Where would society be today
without music? With schools cutting their music programs, the next Mozart may not get his chance
to discover his amazing talent. Music programs are essential to education. To fully understand this
one must understand how music helps the human body, why schools have cut music programs, and
why people should learn music. According to Laurence O'Donnell, "Music is thought to link all of
the emotional, spiritual, and physical elements of the universe." This proves that music is more than
a simple class teaching random notes. It is a common denominator ... Show more content on
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Music can affect the body negatively. One of these effects is the fact that music can be addictive
(Severance). According a scholar, if people go to long without their preferred music they can have
headaches. The same scholar later stated that this is caused by disharmonic tones. Disharmonic
tones are found most often in hard rock music and popular pop music (Severance). However, it
seems as though the positives of music out weighs the negatives. In harsh economic times, schools
tend to cut music classes first. The current economic situation has not helped music classes. In an
Arizona school district, the first classes cut were music classes (Rhoden). Rhoden states, "Tuesday
evening, the Humboldt Unified School District Governing Board made the difficult decision to
reduce the elementary music program..." When times get tough it seems to people that music is just
not important enough to keep in the daily schedule. Current society puts a stress on reading and
math. An article from CNN states,
"Shrinking state and local education budgets matched with the added pressure of the No Child Left
Behind Act of 2001, which sets rigid standards in reading and math that schools must achieve in
order to receive federal funding, have created a new challenge for districts" (Van Harken).
The National Conference of State Legislatures said, "School budget crunches have been a trend over
the past couple years and span the entire nation" (qtd. in Van

Npr And Classical Radio For The 3-4 Pm Hour Of Classical...
Evan Yip
Professor Diaz
MUHL 124
24 January 2017
Radio Assignment On Monday afternoon, January 23rd, I tuned into NPR and classical radio for the
3–4 pm hour of classical music. The radio host was Gigi Yellen who was very knowledgeable about
the pieces she had in the playlist for that afternoon. In between pieces she would usually make a
comment or two about some extra–musical fact regarding the piece or composer. It was very
interesting and I thoroughly enjoyed the hour of listening. There was not an expressed theme or
organization to the playlist when I tuned in, so I had no preparation for the pieces that were to come.
I actually enjoyed this position of surprise and anticipation because it left me with a completely
open mind without ... Show more content on Helpwriting.net ...
Johann left the Josef's group in 1825. Josef Lanner quickly became highly regarded and very
popular for his waltzes. He began giving concerts in the Vienna Volsgarten in 1831 and he
conducted the chamber ball in the Hofburg beginning in the year 1840. His music spread all over
Europe and even to the USA where it was very popular. His popularity eventually waned in the
shadow of Johann Strauss. Lanner composed the piece Die Mozartisten for the 15th anniversary of
Mozart's death as a tribute. The second piece I listened to was the Concierto Madrigal by Joaquin
Rodrigo. The piece was very, very long. As a listener, it was easy to tell there were many separate
works or sections within this piece. The overall feel was a Spanish theme with a lot of great guitar
playing. As expressed by Oxford Music Online, Joaquin Rodrigo became blind at the age of three
and remained so until his death. He lived almost exactly a century later than Josef Lanner. Joaquin
was born in Sagunto on the 22nd of November in the year 1901. He studied music in France and
married a Turkish pianist. Soon after his first composition entitled the Concierto de Aranjuez, he
became widely recognized as a leading composer in Spain. He is accredited with an estimated 170
compositions, 11 of which are concertos. Towards the end of the 60's, Rodrigo composed the
Concierto Madrigal for two guitars. It is said that the piece was based on a Renaissance love

Analysis Of Rudolf Laban's Theory Of Dance
Born in Austro–Hungary in 1879, Rudolf Laban developed a theory that provided a means to
exploring and expanding one's movement vocabulary. Although frequently used in choreographic
processes, this toolset helps one explore different aspects of dance improvisation. Worldwide, his
theory of analyzing movement has helped dancers grow more creative in their improvisation. When
improvising, dancers often use varying levels of structure to control the direction of improvisation,
and this particular structure based in Europe is used in almost every setting of dance in academia.
Much of our exploration of dance improvisation involved delving into the eight movement "efforts"
that Rudolf Laban developed, and these eight effort qualities can be categorized into four different
groups: direction, weight, speed, and flow. For direction, movements can either be direct, which
means there is intention and thought before every movement, or indirect, where the direction of one
movement does not necessarily correspond to that of the next. For weight, movements can be either
heavy, which can often be visible or the weight of the limbs and the awareness of gravity and the
floor, or light, where a sensation of weightlessness or floating is often used. For speed, movements
can either be quick, where movements rapidly progress from one to the next, or slow, where the
urgency of time is neglected. For flow, movements can be either bound, where there is a sense of an
imaginary outside force acting

Dance Reflection
After spending a semester in improvisation class, I can honestly say that this course has been one of
the hardest, annoying, but probably the most relevant and important dance classes I have taken thus
far in my dancing life. This course also turned out to be the complete opposite of what I originally
thought it was going to be like. At the beginning of the semester, I was a firm believer that
improvisation, was any movement that a dancer does that is on the spot, random, wild, and without
thought. I also had this big belief that when a dancer performed an improvisation, that it was
supposed to make sense and show the talents of the dancer. With that being said, I came into the
class thinking that I was going to spend the semester listening to different types of music and
figuring out how to improvise to those music selections as well as learn how to improvise different
dance genres. Essentially, I thought I was going to learn how to improvise for the point of being
showy and performing. Of course, through this course, I realized that yes one can improvise for the
point of performance, but in this class, we did so much more than just do showy improvisations.
Instead, I got the chance to really explore my natural self as a dancer and learn the science behind
improvisation. Writing about improvisation is such a hard thing to do because improvisation is such
a complex and emotionally deep activity to participate in. However, what I am trying to get out, is
that what was

Questions On Teaching And Classical Players
This article discusses 8 vital things to remember as improvisers – whether advanced or just getting
started:
1. Your technique is probably miles ahead of your ability to think.
This isn 't just true for classical players. I 've known lots and lots (and lots) of jazz players who have
let their technique run the show as opposed to their brains.
Happens all the time.
With players who are just beginning to improvise, this is vital to keep in mind. Slow down! Even at
furious tempi, you can "long meter" melodic phrases that dance and skip over the fast tempo –
thinking them in real time. And you can have great precision and musicality in doing so.
FYI, most players who play so fast you are asking yourself how can they think that stuff in real time
– probably aren 't really thinking that stuff in real time. Most are performing a memorized, yet
impressive move. Sort of a human software, "sub– routine call." To me, not the real thing.
Personally, I 'd rather listen to simple ideas that are inspired than impressive, over– thought, over–
prepared ideas any day. Particularly when they are masquerading as
"improvisation."
2. You will be playing unexpected notes (mistakes) in the best of situations.
Yes, I know, we 're supposed to KNOW what we are doing. But to get good at anything, we have to
stretch, and stretching means taking risks, and taking risks means making mistakes.
Over time, you really will be able to hear a melody and execute it flawlessly. But by then, you 'll be

The Effects Of Music Therapy On Children With Autism...
From 1997 to about 2007 the number of children with autism spectrum disorder has increase from
42,517 to about 258,305 and has risen since (Reschke–Hernández, 2011). With this rise of children
who have autism, the rise of music therapy has since appeared greatly. When music therapy was first
documented, the music was used in both group and individual settings. It was used with those who
lacked social skills, those who needed rehabilitation, for self–expression, for psychological
improvement and also recreational purposes (Rescheke– Hernández, 2011). Music therapist use
techniques such as improvisation music therapy, dancing and singing, speech dynamics, and rhythm
to help clients with social skills, body awareness and communication skills (Rescheke– Hernández,
2011). Children who are diagnosed with Autism Spectrum Disorder can be treated through music
therapy to enhance their social skills, learning skills, and coordination.
Through the use of music children with autism are able to express themselves better in these social
situations. Children with autism are found to not be as engaged with others in social situations as
other children. Children with autism are found to have impairment in their communication skills
when they want to express themselves in a social situation (Gattino, dos Santos Riesgo, Longo,
Leite, & Faccini, 2011). A study done by Kim, Wigram, and Gold found that music therapy
promotes social skills, motivational and emotional development in children with

Music Therapy Within Children And Adolescent Bereavement
Music Therapy within Children and Adolescent Bereavement While the bereavement process may
be a universal chapter of life, the experience itself is conclusively subjective. Specifically for
younger individuals, bereavement is a very complex encounter because developmental factors must
be considered. The loss of an individual in a child's life is heavily influenced on the time in which it
occurs because coping mechanisms may or may not be developed. For example, if a child does not
understand the context of death, they most likely will not have adequate coping skills to process this
life–changing experience. Children and adolescents who are facing bereavement may face
developmental relapse as well as changes in social, behavioral, emotional, and physiological
domains (Osterweis, 1984).
As with many issues identified in the world of children and adolescents, early intervention is
imperative. In our modern world, there are numerous treatment options complementary to various
approaches that have been empirically proven to be beneficial to these individuals. Respectively,
creative therapies may be valuable in addressing several of the domains mentioned previously. One
creative method of treatment that has been proven to positively facilitate the grieving process is
music therapy. Music therapy is typically implemented in a group setting, although some clients
benefit greater from individual interventions. Group music therapy has the capability to promote
sharing, facilitate

Collective Improvisation: New Orleans And Chicago Dixieland
Collective improvisation is when a group of musicians improvise to form a complete, multilayered
song. While it comes with rules, it also comes with the freedom of individual expression.
"Improvisation should not be equated with total freedom" (Collective Improvisation Lecture, Part
1). In other words, it is a group effort, not an allowance for musical anarchy. This lesson covered 2
types of collective improvisation: New Orleans Dixieland and Chicago Dixieland. Today, there are
still examples of collective improv. in multiple music styles.
The process of collective improvisation is a flexible interaction between musicians to create a
unique, textured piece of music. While some of the players were able to add their own interpretation
of the music, they had to stay close to the original piece. When it comes to early Dixieland, not
everyone was allowed to improvise, just the front line which was made up of the cornet (trumpet),
clarinet, and trombone. The trumpet played the melody, the trombone played ... Show more content
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First of all, the saxophone was added to the Chicago style, which had a role similar to the clarinet
only it played a countermelody below the trumpet. Secondly, the rhythm section picked up the guitar
instead of the banjo. Third, Chicago paid more attention to the soloists vs. the entire ensemble, and
the players were more intense and driven, compared to the relaxed, laid back feel of the New
Orleans Dixieland. Take for example the difference between "West End Blues" by Louis Armstrong
and Bix Beiderbecke's "Singin' the Blues". "West End Blues", which is New Orleans style
Dixieland, has short solos and keeps the rhythm section at a steady, flat–four beat. "Singin' the
Blues", on the other hand, has much longer solos, allowing the players to elaborate. Last, the
Chicago style started throwing in intros and endings that were more

Examples Of Improvisation In Drama
What is improvisation and how can it be used to create drama/theatre?
Jade Sullivan – Extended response
Improvisation is a foundational style which is used to create ensembles, it is the art of being in a
scene/s with no preparation. Improvisation is used to Refine theatrical pieces, create ensemble, and
extend our own creativity. It forces us react imaginatively and immediately. Improvisation is used
effectively in the examples of Augusto Boal and his 'Theatre of the oppressed', the French company
'Theatre Du Soliel' and an example from my own experience in class.
Theatre Du Soleil is a French drama company that started in the 1960's, it employs drama as the
means of making performance and mainly uses improvisations part of the process ... Show more
Using improvisation encourages play and spontaneous exchange of ideas/ process. It can be referred
to as an 'extension of child's play' as it stimulates offspring of child's play and it forces us to react
imaginatively to offers; like a child might do in the playground. As a class, we have explored this
idea in a game we play called "Space Jump", there are many alterations to the game but the general
idea is this; one student starts miming an everyday activity and is told to freeze. A second player
then volunteers to build another scene based on the frozen position of the first player. The original
space jump then gets played backwards. This game helps us as actors develop necessary
improvisation skills such as being able to accept offers, react to others and create ensemble. Games
such as these, and improvisation in general allows you to explore your physicality and abilities to
present different characters on the spot.
To conclude, improvisation can be used to creates ensemble, explore an individuals expressive
abilities, polish Individual or group performance, and to generate ideas. In the creation of theatre,
improvisation allows you to explore different personas/ life styles, and gives you the opportunity to
see the world through another person's eyes. Through the examples of Theatre Du Soliel, Boal and
my own class experience, improvisation is shown to

Music Therapy Within Children And Adolescent Bereavement
Music Therapy Within Children and Adolescent Bereavement
While the bereavement process may be a universal chapter of life, the experience itself is
conclusively subjective. Specifically for younger individuals, bereavement is a very complex
encounter because developmental factors must be considered. The loss of an individual in a child's
life is heavily influenced by the time in which it occurs because coping mechanisms may or may not
be developed. For example, if a child does not understand the context of death, they most likely will
not have adequate coping skills to process this life–changing experience. Children and adolescents
who are facing bereavement may face developmental relapse as well as changes in social,
behavioral, ... Show more content on Helpwriting.net ...
In their article, McFerran et al. gives a great representation of the role of music within the realm of
children and adolescent bereavement:
The function of music can be metaphorically represented as both a mirror and a window for the
teenager. The idea of music serving as a mirror reflects an emphasis on the personal, including the
intrapersonal and private roles that music can fulfill when there is no expectation of an audience for
their musical engagement... The contrary idea of music serving as a window encompasses the social,
interpersonal, and cultural functions that music naturally serves for young people." (McFerran et al,
p. 543–544).
Within the world of a teenager, the desire to feel normal is very natural. When going through the
bereavement process, these individuals undoubtedly need support, but this must be approached with
caution. By providing these individuals with a familiar variable, they may feel more comfortable
with sharing what emotions they may be experiencing. Various studies have concluded that the
relationship between children, adolescents, and music is very synonymous. Adolescents in today's
modern world tend to familiarize themselves with music in which they can relate. Furthermore, this
preferential music may provide that validation for teenagers who are grieving, making it known that
what they are feeling is not atypical.

The Improvisational Brain By Amanda Martinez
Learning to create music or a speech spontaneously is not an easy task. Any professional musician
will say that improvisation is not as easy as just making it up as one goes along. In fact, the
musicians that make improvisation look simple are the ones who have put in countless hours of time
and study to make it look effortless. The Improvisational Brain by Amanda Martinez tells about a
neuroscientist that studied the science behind how the brain works in order to improvise. In order to
be able to be a good improviser, one must learn to shut down the dorsolateral prefrontal cortex and
let the creativity and skill take over. What about those that have limited ability? Should they learn to
improvise as well? One would argue that it is not important to learn to improvise, whether it be
music or otherwise. However, improvising can give a person a sense of freedom from the ordinary.
"This notion of trying to tell your own story, without the constraints of caring how well it's going as
you're saying it, was really pretty intriguing" (Martinez p. 7). Although many struggle being able to
shut down the part of your brain that allows one to improvise, it is important to teach children and
adults alike how to improvise because it teaches creativity, divergent thinking, and encourages better
communication skills.
Improvising is defined by Merriam–Webster dictionary as, "to make, invent, or arrange offhand." A
classical pianist, Robert Levin said of improvisation, " It's an act of

Great Del Close Influence On Improvisational Theatre
There are five simple rules to improv, follow these rules and more than just the art changes, your life
changes. Improvisational comedy has been around far longer than most people suspect, it can be
traced back to the days of Commedia Dell'Arte. This style of theatre was popular throughout Europe
for almost 200 years starting in the mid–1500s. Performers would travel building makeshift stages
and create dialog and plot lines on the spot. Later, Keith Johnstone and Viola Spolin would re–
invent the art into what we see today on shows such as "Who's Line is it Anyway" and "Wild and
Out". Improvisational comedy is more than a tool to give people laughter, it also allows children to
learn in new ways and has helped shape society and should ... Show more content on
Helpwriting.net ...
Stuart Jeffries wrote an article entitled, "The Science of Comedy: can humour make the world a
better place?" In this article, he discusses how "Thinking about comedy is becoming a big academic
industry" and this is true, it is also important. The founder of the Centre for Comedy Studies
Research, Dr. Sharon Lockyer, studies how comedy can be socially beneficial. She says, "The media
fixates on comedy controversies where comedy has been deemed to be problematic or offensive".
Much of comedy seems to be at the expense of someone else, but not all comedy has to be that way.
Improv is unique in that it does not poke fun at individual groups or people, not directly anyway, it
pokes fun at situations. Meaning, it often puts average people in unique situations and the fun is
seeing how a normal person would

The Effects Of Classical Music On Music
How to start listening to classical music and enjoy it.
The love of classical music is not dead; it's still active(alive?) in the sense that it is dying. To start
listening to classical music, the concept is quite simple actually, you first must press play on
whatever music playing device you have and make special note that it be classical music. Although
the action to doing it is elementary, there are other factors you have to consider. For example:
motivation, electricity/internet, and your mood, but I digress. If only we lived in the 1750–1830s,
when men wore fake luscious wigs and high heels, this would be our jam! First, you need to lower
your expectations and allow me to clear up some common myths.
The Paragraph of Truth
Classical music is boring only to those who are uneducated in music theory, similarly compared to
those that watch football, but don't know what a first down is. You understand the mass confusion
that ensues. But you're in luck, because this foreign language can be translated, and you don't have
to take a music theory class. "Infamy!" you say. No, I assure you there is a cheaper way, and that is
simply to learn to appreciate the music (and all music) for what it is.
Turn Down (DJ Snake) For What?
Beethoven. Go ahead, ease into the change in music. You don't have to starve yourself of music you
like by binging on classical music that you abhor. Only a hardcore New Year's resolution person
would do that–don't be that guy. Instead, decide whether you

Improvalizing The Song 'Anything Goes' By Ella Fitzgerald
"Anything Goes" Topic 2
In the song "Anything Goes" performed by vocalist Ella Fitzgerald, the band plays without vocals
around one–minute and fifty–four seconds. The band is improvising because it is a new melody
playing over the original chord progression. The aspects of the music that helped me determine this
was because when it switched to the band solo, I could hear the original tune of the song and could
sing along as if the vocalist was still singing, even though there was a new melody. Improvising in
jazz has a slightly different meaning than how most people use it today. Before taking this course, I
would've thought that improvising was to perform something spontaneously. Whereas in jazz,
although it still is somewhat spontaneous,

Music : The Means Of Music And Music?
Art is an important part in human society. But what is the definition of art? It is something that has
been with us since the beginning of mankind and has been evolving ever since. Since that time, arts
have been a changing frontier and can imply many things. It can mean art through painting,
architecture, video games, movies, etc.. People resonate with a specific kind of art they partake in
and in this case music is my prefered form of art because it is meaningful to me in a spiritual,
academic, and creative way. However most communities are extremely wary about music and its
effects on us. They are saying that it is just a hobby and what we are experiencing is a placebo effect
that educators in music have placed in our heads. But in this attempt to persuade and state the truths
about the non–coincidental things happening in the minds of a musician. To show that playing music
is no hobby but almost a necessity as we progress into the future. I must show off my personal and
logical/statistical evidence to explain that the effects of music is real. The power of music can affect
a person's brain neurologically. This means how they think and what their mood is completely
different than ones of a non–musician. Music can be applied to other things and not to music itself.
It is a topic which can be connected to other things such as things in academia. (In this case math,
science, english, etc..) But most importantly is what folks seem to undermine the most and that is
the power

The Challenges Of Movement And Improvisation
Movement and Improvisation requires one to articulate his or her thoughts so that anything, no
matter whether it's an emotion, an object, a situation, an action, a reaction, or any other thing that
comes to mind, can be expressed as a movement, no matter how weird or wonderful the movement
turns out to be.
When I was first introduced to Movement and Improvisation when I entered SOTA, I felt very self
consious as I did not know if I was doing it "right", or if others were judging me. However, I slowly
started to feel more comfortable and realised that no one was judging anyone. I then felt the fun in
Movement and Improvisation, as we were free to explore whatever we wanted, and there were no
"fixed" shapes like ballet. I started to like Movement ... Show more content on Helpwriting.net ...
One of the biggest challenge I faced was that I kept on losing focus halfway through improvising,
then blank out. For example, once during contact improvisation, the whole class was instructed to
huddle up into a smaller ball. Once my partner and I entered the "ball", I was almost crushed by
someone else as I was on the floor. This made me panic and lose track of where my partner's hands
was. However, after being able to participate in improvisation classes with Mr Sascia, Giselle,
Nicole, Cherie and Su Nin, I was able to really focus on myself and my surroundings, and not lose
focus no matter what circumstances. Another challenge I faced was that I was not able to react to
music well, such as Mr Sascia's percussion. When we were told to improvise according to Mr
Sascia's music, I felt a sense of hesitation, which led to myself not really applying the music into my
movements. However after a few classes with Mr Sascia, I learnt to be more attentive to the music
and listen until the music completely comes to a stop. By listening to the small details of the music,
I was able to let my body freely react to the music whether or not the movement was huge or very
small. All these challenges I was able to overcome thanks to my teachers Ms Phua and Mr Sascia,
and also my encouraging classmates who pushed me to do my

Ridge A Cappella Choir Analysis
"The word "carry" must be eliminated from all our minds when we think of Ridge A Cappella Choir.
That word "carry" actually has an extremely negative impact on our attitude towards making
fabulous choral music."
It is late November, the week before the first performance for our choir. Even though we've had our
music since June, we were woefully unprepared. Each section, including mine, was wrought with
apathy. Choir wasn't fun anymore.
Ever since I was accepted into A Capella Choir, I felt like the smallest fish capable of survival in the
big pond. The seniors were actually good– they practiced, and they have been members for 4 years;
I could never aspire to even equal these larger than life figures. Rather than working with us
underclassmen,

What Is The Intimate Act Of Choreography
The theme of The Intimate Act of Choreography by Lynne Anne Blom and L. Tarin Chaplin is to
inform the audience on what choreography is and how to go about the creative process of dance.
This book's purpose is to be a guide into choreographic process. The choreographic process, which
is a series of steps that create dance and classify dance as a whole, helps the authors break down the
major ideas to form smaller concepts which are used to initialize a dance. The work provides an
analytical view on dance as an artform but also in making the process to simple to understand and
how to use. They do this using three steps to simplify the choreographic process–– divide, expand,
and use. These three steps are relatively simple but allow for the audience to understand the purpose
of the book and transfer their newfound knowledge into the world. The Intimate Act of
Choreography acts as lecture, setting up the structural bones for those interested in choreography.
This is informative and opinionated but nonetheless a guide into the domain of dance. ... Show more
At this point in time the controversy of what dance means and what creates good dance was a much
debated subject. There was multiple ideas and theories of motion and kinesphere which have all
contributed into the revolution seen today in dance. In the eighties the big idea was meaning. The
question being does dance need meaning or can it just exist. The book The Intimate Act of
Choreography takes the of meaning. Though they must prove how exactly that meaning must be
shown and why meaning is essential to artistry. They does this through the support of

The Mystery of Jazz and its Powerful Impact on the Community
The mystery of Jazz and its powerful impact on the music community can be explained largely by
the context of it's creation. Jazz was born in the United States, and because of this, many have
referred to Jazz as "America's music." Like America, Jazz has a balance between structure and
spontaneity. It capitalizes on the fluidity of the musicians, having several different instruments with
independent spirits, coming together as one to form a great piece of music. Unlike other styles of
music, Jazz has a certain way about it that makes it stand–alone in the world of genres. It
improvises, moves, and transforms itself in a moment's notice based on the musician's intuition. Just
as America harbors democracy, so too does a jazz ensemble, showing both the responsibility to a
larger group, yet still allowing room for individual freedom. It all comes down to how well others
can respect the overall framework and structure of the jingle. Once we understand how
improvisation plays a role in the overall tune of jazz, we can then look to how jazz is communicated.
To musicians, jazz is a language. It doesn't limit to a yes or a no, but instead it communicates
feelings that show our anger, happiness, sadness, and everything in the middle. It is unique in that it
seems to transcend tradition language barriers. Though a man who speaks Spanish and another who
speaks English cannot understand what the other is trying to say, jazz has a way that communicates
the feelings behind the words, that

Drama Improvisation
Drama Essay
"To be good at improvisation, it doesn't really matter how talented you are, but more about giving it
your best shot"
Improvisation is the art of being able to create ideas in a split second, with little or no warning as to
what you are making up. In drama the art of improvisation, and being a good improviser, is
absolutely essential. However, there are many different views on what it takes to be good at
improvisation. To be good at improvisation, it relies very little on how talented the actor is, but more
importantly, it relies on them trying they're very hardest to be a good improviser, on them giving it
their best shot. This can be determined by how hard the actor is concentrating, on wether or not they
have knowledge ... Show more content on Helpwriting.net ...
Above all other factors of improvisation, having knowledge of the basics is absolutely vital. This is
knowing about the concept of "make, accept, extend". This is where one person makes the offer, it is
accepted by another, and then is extended by the actors playing out the scene. An excellent example
of this was shown in class today, during an improvisation game. One group set up a scene for
another group to act in (this was where the offer was made), and in this scenario, it was a game
show. Straight away, the group that was acting picked up on what scenario they had been put into
(this was where the offer had been accepted) and continued on with the scene without hesitation
(this was where the offer was extended). Another excellent, and hilarious example of "make, accept,
extend" was when in class, we acted out the scenario of waiting at a bus stop. Jerrah had acted out
that she was pregnant and in labour. Suddenly, Gabby decided she would be the baby. Jerrah had to
quickly accept the offer made by Gabby, which she did, and they both extended it in an incredibly
hilarious fashion.
Another important factor of improvisation is the idea of giving it your best shot to interact with your
fellow actors. Without interacting with one another, there could be no scene, no scenario, nothing at
all. When tyring your very best to interact with your fellow actors, improvisation is definitely at it's
best. This was seen during our

Theodor Adorno's Use Of Pseudo-Individualism In Popular Music
Theodor Adorno was an important member of the Frankfurt School, which developed ideas of
critical theory and cultural Marxism. Adorno adopted a Marxists approach in his work, especially
among his work as a musicologist, seeing propaganda within popular music. He saw music as
thought provoking and believed that it prevented its listeners from having real thought, he wanted
people to challenge the way they listened to popular music. In his article On Popular Music, which
he had written in 1941, Adorno speaks about how he believed there were two spheres of music,
popular and serious music. About the standardisation in popular music, in which it followed certain
patterns which created pseudo–individualism. Also on how popular music affects its listeners in
different ways compared to serious music. As a Marxist philosopher, Adorno was an idealist for the
idea of capitalism, also as a Marxist sociologist he had an understanding of society and the idea of
there being two different classes in all aspects of culture and society.
Firstly Adorno addresses the differences between 'popular' and 'serious' music. Adorno described
classical music as classical, although he does say that much of what people would place in the
classical category is really just popular. [1] Also when Adorno refers to popular music he is refers to
anything that is composed purely for entertainment. David Held points out the different
characteristics of 'serious' and 'popular' music. For 'serious' music "Every

Music Is A Magical Piece Of History
Music is a magical piece of history, and has changed throughout history with the changing of
generations. As culture changes music changes as well. Artists have found a way to use music, art,
and fashion throughout history as a way to convey feelings of love, sadness, frustration, and death.
Musicians find a way to move their listeners with the sounds they hear. With every rise and fall of a
note and change in melody or tempo, listeners find themselves holding their breath or possibly
wiping away tears.
Aaron Copland is a man who has truly done just that. His love for music started when he was very
young when his sister taught him how to play piano (Encyclopedia). From that point on, his thirst
and passion for music grew. At the age when most boys are outside playing, getting dirty Copland
decided he would become a composer. Attending Boy's High School he began to study music
(Encyclopedia). In 1921, Copland moved to France to further study music at the American
Conservatory in Fontainebleau. It is there he would experience the different style of European
music. Schoenberg and Stravinsky had always inspired him, and his stay in Paris gave him the
opportunity to enhance his love and understanding of their music.
When Copland returned to America he wrote his first major piece of music named simply the
Symphony for Organ and Orchestra. This was just the beginning of Copland's early writings. He
wanted to experiment with music in his compositions. Copland began to blend music

Surprising Science: What Music Does To Our Brains By Belle...
Reflection of Music Music is a reflection of the human soul that encompasses the direct emotion of
the inner being. Music has existed from the beginning of time from the very creation of the universe,
as the angles worshiped God. Throughout the centuries music has dramatically changed, exposing
our nature of each generation time and time again. Truth is, you can expose the mindset of an
individual based on the music he or she is currently listening to. The article "Surprising Science:
What Music Does to Our Brains" by, Belle Beth Cooper makes eight points on how a person reacts
when listening to music. Each person will react to music differently depending on their generation
and perception at the given moment and has the ability to control ... Show more content on
Helpwriting.net ...
The first point is definitely true, as mentioned above, I will listen to different music depending on
my mood based on how it makes me feel. I believe this to be true for most people that we will all
perceive a piece of music differently. The second point makes a good claim that moderate levels of
music increases a person's creativity, but this could also be tied into the first point as people perceive
things differently. Personally, I enjoy listening to my music at a high level in my ear buds while
painting, this allows all other distractions to be at a minimum and I can paint freely. Additionally, I
agree with the third point to an extent. I have listened to almost every different genre of music at one
time or another throughout my life, I have been known to listen to multiple genera's in the same day.
Trying to label a persons' personality type with the music they listen to can be controversial and a
bias opinion. Point four makes a great statement that listening to music can be dangerous while
driving depending on a persons' enthusiasm. I personally rock out to music while driving; singing on
top of my lungs and using my steering wheel as a drum is typical for me while I drive alone.
However, this has caused slight yet unnecessary swerving at times so I try to keep my excitement
down to a reasonable level. I feel that point five is extremely important. There have been a multitude
of studies done reflecting the impact that music training is beneficial to children. I never had the
availability to learn a musical instrument as a child, where my sister who is fourteen years younger
than me is currently learning the piano. I see a significant difference in our creativity and learning
habits. I agree with what point six mentions that music has a strong connection to our brains, studies
have proved that classical music improves the synapses in our brain which I suppose can improve
our

3a Demonstrate Selected Musical Ideas For A Simple...
Subject: Music
Title: Cornerstone 3 – Day 1
Grade: 3
Standards
MU:Cr1.1.3b Generate musical ideas (such as rhythms and melodies) within a given tonality and/or
meter.
MU:Cr2.1.3a Demonstrate selected musical ideas for a simple improvisation or composition to
express intent, and describe connection to a specific purpose and context.
Essential Question
How can we use music to tell a story?
How do lyrics and melody come together to show expressive intent?
Rationale
Students will gain an understanding of how composers write music. Students will work their way
through the composition process including lyric writing, improvisation and melodic composition.
Through this process students will gain a deeper understanding of the text they are drawing from.
Students will use expressive elements to effectively tell their stories by using music.
Task
Time Student actions Teacher actions ... Show more content on Helpwriting.net ...
Paper and Pencils (if desired)
10 min. Students will share out ideas, give each other feedback, and decide on a final lyric selection.
Teacher will have students share out ideas and record all workable ideas on the board. Teacher will
then facilitate discussion about which lyrics fit best together, and lastly help the class decide on their
final 4 lyrics.
Assessment
Teacher observation of students' contributions to the lyrics
Standard Exceeds Expectation Meets Expectation Needs Improvement
MU:Cr1.1.3b The student generates lyrics that make rhythmic sense without the need for teacher
assistance

The student generates lyrics that make rhythmic sense with little assistance from the teacher
The student does not generate lyrics that make rhythmic sense.
MU:Cr2.1.3a The student chooses lyrics that connect with the purpose and context.
The student almost always chooses lyrics that connect with the purpose and context. The student
does not choose lyrics with regards to purpose or

Pitch Perfect And Glee Compare And Contrast
For years there has been this obsession between students in music. Whether it's high school and
Glee clubs, or Colleges and acapella groups the message is very clear. This reminds me of the movie
pitch perfect and the tv show Glee. The movie Pitch perfect and the tv show Glee seem to fit hand in
hand.Or do they? With so many similarities and differences, you can't help but notice them as you
watch. While Glee shares many things with Pitch perfect such as songs, and embarrassing scenes,
they have much more differences such as theme, setting, characters,and more. One major thing I
noticed was the similarity between the characters. Rachel to Aubrey? Both of these characters seem
to fit the role as the female group leader. Well both of them share

Musical Analysis Of Fantasia
is the animated musical sequel to its originator in 1940, Fantasia. It was released in December of
1999 and was produced by Walt Disney Feature Animation and Walt Disney Pictures. Walt Disney's
brother, Roy E. Disney was the helm of producing it and so was Donald W. Ernst, who co–produced
it. The movie includes many celebrities that introduced the live action parts with the classical music
counterpart. It took many, many years to get the approval to make the sequel and it did really well in
the box office. But the more important part from this movie is the music behind it, the music really
goes along with all seven of the segments shown and they all have an art style behind it.
The orchestra behind the film was performed by Chicago Symphony Orchestra and was conducted
by James Levine. The movie contains seven segments and has an important musical piece behind it,
which they are written by somebody significant in the classical music world. Fantasia 2000 opens
with the most famous concert music of all, Beethoven's Symphony No. 5 in C minor. Following the
first film in 1940, this first segment follows abstract images that form the ideas of the heavens,
butterflies, bats, and darkness. The second sequence is "Pines of Rome" by Ottorino Respighi,
which follows the journey of humpback whale calf as it learns to fly (only because of a supernova).
The whale is separated from its parents, but manages to reunite with the entire school, that ends up
coming through the fluffy clouds

Improvisation And Techniques Of Nonviolent Protest, By...
Improvisation In My Artistic Life This semester, English 1 has taught me what improvisation is.
Improvisation is the determination of improvising actions and improvised artistic practices like
music and drama are being created without ready–made process. Through reading several articles
and in–class practices with Hip–Hop artists and a guest dancer, I have understood this concept
deeply. I was also inspired by what I learned and I used this concept in my own art practice such as
my hip–hop dancing and comedy comic story writing. Having classes with Hip–Hop MC, rapper
and choreography artist is a very important experience that helps me to understand improvisation
practically. They asked us to interact with their live performance in the way of translating the
objective condition like the sound we made into their own language of rap and dance movement. We
were learning improvisation by viewing the process of improvisation as improvisers just like these
artists. On March 11th, Hip Hop artists Cool Out Chris and Amina came to our class. I am a hip–hop
dance lover so I absolutely like Hip Hop and I had a good time in that class. They introduced Hip
Hop history, performed their ... Show more content on Helpwriting.net ...
The article I read, "Bodies on the Line: Contact Improvisation and Techniques of Nonviolent
Protest" was written by Danielle Goldman. It aims to discuss the connections between the body
techniques that freestyle riders use and the early creativity in contact improvisations that is about
bodies respond to each other with examples of body practices and quotations from philosophers. The
article shows contact improvisation is an exercise of making oneself ready for a variety of ever
exchanging surprises and restrictions, which is the most important point of body improvisation. The
reading gave me a basic understanding of body improvisation while dancer Rachel Damon let me
understand the concept

Project 3: Contempory Music Theatre
The project that I am analysing is Project 3: Contempory Music Theatre. This project detailed that
we create and perform "a piece of contemporary music theatre which will utilize live performance
skills across the different media of the genre." (BAPA Level 4, 2016) The devised performance
should be based on making something ordinary, extraordinary by using the different aspects of
Contempory Music Theatre. I will focus on analysing how my duo used improvisation and
collaboration to create our piece effectively and how professional practitioners use these creative
devices.
To determine which everyday activity, we would make extraordinary in our performance. Kat and I
listed several of them which we thought had potential to be exploited for our ... Show more content
on Helpwriting.net ...
Whether this is between actor and actor or actor and technician or technician and venue manager it
doesn't matter. If all the people in the Performing Arts World did not collaborate, performances
would either be of very poor quality or simply not exist. "the great strengths of an effective team lies
in its blend of talents and abilities. Teams of individually brilliant people may still be ineffective if
there is not a good balance of team roles" (Team Roles, 2014) A good collaborative group includes a
range of types of people. By having different types of people everyone brings out the best in each
other. By working in a group for the project Contempory Music Theatre, I got to explore my place in
my group and see the type of collaborative person I am; How working with other types of
collaborative people to bring out mine and their strengths and weaknesses. In terms of collaborative
work, I tend to be the type of person who puts relationships before causing or solving problems. Due
to this, I often accept other people's ideas rather than fighting for my own or sometimes not sharing
my ideas at all. Consequently, I become the loser when problems are resolved because I am
unassertive and want everyone to be happy. Whilst this may be good for most other types of
collaborative people, for me it means that I could get taken

Popular Music: The Creative Process Essay
The Oxford Dictionary defines creativity as "the use of imagination or original ideas to create
something; inventiveness". Stemming from this, the creative process is the way in which an
individual develops their creative ideas. Under this umbrella is improvisation and, in particular, free
improvisation (or free jazz). "Improvisation is about... truthfully responding to changing
circumstances, and about.... enjoying the process without straining to get a known result. It is about
creation." Creativity and improvisation come from deep within, almost decided by our
subconscious, only to be directed by conscious thought and the happenings around us at the given
time. "Even without thinking, [musicians] can make musical gestures that direct the ... Show more
I hold improvising close to me, and use it as a technique for creating original songs, and turning
cover songs into my own. When one improvises, they make choices that are unique to them, which
leads into the question of where ideas in improvising come from.
Singer–songwriter Matt Corby spoke about the idea that inspiration does not come from you, rather
"it's something that you channel. Song writing, being able to create something new, is a regurgitation
of everything that you have experienced musically in your entire life. Your ideas [are] just a product
of what you know and what you place value upon musically or artistically". Though he is speaking
more so about song writing, this especially resonates in improvisation, as the process is even more
free flowing and spontaneous than creating a song. In improvising, this concept of "the body acting
prior to thought" is key, however when taking part in free improvisation, it is often difficult to
continue coming up with different ideas and variation, and I feel I am often too similar and
somewhat predictable in my improvising. A musician's "personal conventions [can become] too
familiar" and it is often necessary to "search for a wider spectrum of ideas." I wanted to put myself
out of my comfort zone, in order to explore new things, and was able to do so in the workshops.
In one of the first free improvisation workshops I was given an image that looked like a string of

Music And Classical Music

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