Didática da Educação Musical (Vagas esgotadas)
Prof. José Nunes Fernandes (UNIRIO)
Descrição do curso:
Improvisation: from theory to praxis to theory to praxis to theory to praxis Improvisation takes place in all music making, from composing and arranging to performing either meticulously notated music or “free” jazz. In other words, improvisation in music should not and cannot be restricted to improvised music: all music making is, in one way or another, a reworking of the past; all performing requires, in one way or another, a decision making done in the course of performance. Dealing with improvisation should therefore not be restricted to jazz departments but be an integral part of each and every music education.
This short course on improvisation leans on three pillars: a close reading and discussion of some texts, listening to and talking about some recorded music, and making music oneself (that is, working on some improv exercises).
Course outline
Session 1:
a. What "is" improvisation? Texts by Derrida (online) and Bruce Ellis Benson.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Session 2:
a. Improv and interaction. Texts by Ingrid Monson and Kevin Whitehead.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Session 3:
a. Improv and complexity. Text by Marcel Cobussen.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Practicalities
- Max. amount of participants: 20.
- Reading the texts in advance is strongly required.
- No improv experience required!
Literature
Benson, Bruce Ellis (2003) The Improvisation of Musical Dialogue. Cambridge: Cambridge University Press, pp. 23-30.
Cobussen, Marcel (2014) “The FMI Theory”
Derrida, Jacques (1982) “On Improvisation”.
https://www.youtube.com/watch?v=xT106qB65-A
Monson, Ingrid (1996) Saying Something. Jazz Improvisation and Interaction. Chicago: University of Chicago Press, pp. 87-93.
Whitehead, Kevin (1999) New Dutch Swing. New York: Billboard Books, pp. 154-157.
Improvisation: from theory to praxis to theory to praxis to theory to praxis Improvisation takes place in all music making, from composing and arranging to performing either meticulously notated music or “free” jazz. In other words, improvisation in music should not and cannot be restricted to improvised music: all music making is, in one way or another, a reworking of the past; all performing requires, in one way or another, a decision making done in the course of performance. Dealing with improvisation should therefore not be restricted to jazz departments but be an integral part of each and every music education.
This short course on improvisation leans on three pillars: a close reading and discussion of some texts, listening to and talking about some recorded music, and making music oneself (that is, working on some improv exercises).
Course outline
Session 1:
a. What "is" improvisation? Texts by Derrida (online) and Bruce Ellis Benson.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Session 2:
a. Improv and interaction. Texts by Ingrid Monson and Kevin Whitehead.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Session 3:
a. Improv and complexity. Text by Marcel Cobussen.
b. Playing: exercises/Cobra/Intermezzo
c. Reflection on a + b
Practicalities
- Max. amount of participants: 20.
- Reading the texts in advance is strongly required.
- No improv experience required!
Literature
Benson, Bruce Ellis (2003) The Improvisation of Musical Dialogue. Cambridge: Cambridge University Press, pp. 23-30.
Cobussen, Marcel (2014) “The FMI Theory”
Derrida, Jacques (1982) “On Improvisation”.
https://www.youtube.com/watch?v=xT106qB65-A
Monson, Ingrid (1996) Saying Something. Jazz Improvisation and Interaction. Chicago: University of Chicago Press, pp. 87-93.
Whitehead, Kevin (1999) New Dutch Swing. New York: Billboard Books, pp. 154-157.