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Subject: search.filters.subject.Improvisation (Music)

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    After the melody : Paul Bley and jazz piano after Ornette Coleman : a thesis presented in partial fulfillment of the requirements for the degree Master in Music at Massey University
    (Massey University, 2002) Meehan, Norman
    This thesis examines the improvisations of jazz pianist Paul Bley, asking the questions: In Paul Bley's improvisations, what constitutes the melodic vocabulary, in what ways is that vocabulary organized, and to what extent does it reflect the 'jazz language'? Further, in what ways does Bley create coherence and continuity in his solos? To propose answers to these problems, a selection of Bley's improvised solos were transcribed and examined using techniques described in the methodology section. These techniques attempt to consider both the process and the product of the activity of improvisation. This research revealed that Bley's approach utilised several techniques pioneered by jazz saxophonist Ornette Coleman as well as melodic, harmonic and rhythmic devices common in the jazz idiom. Continuity and coherence were found in the sample, and this was largely attributable to the ways Bley created thematic unity by using recognisable motifs repeatedly in a variety of (often contrasting) contexts. In addition to the transcriptions, these findings are supported by extracts from interviews with Paul Bley conducted by the author and included in the appendices.
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    Interaction within the therapeutic relationship : exploring the relationship between the music therapy practices of a music therapy student and the concepts used in intensive interaction : an exegesis submitted in partial fulfilment of the requirements for the degree of Master of Music Therapy, Te Kōkī New Zealand School of Music, Wellington, New Zealand
    (Massey University, 2014) How, Shona Louise
    This research project explores the relationship between the music therapy practices of a music therapy student and intensive interaction, a teaching model of communication used with children, young people and adults who experience challenges with learning and relating to others. Secondary analysis of clinical records (session notes and video footage) was used in this theoretical research, using both inductive and deductive methods of micro-analysis to explore the relationship between the two approaches. Themes included two relatively distinct forms of interactive communication – communication which predominantly used music and communication which used other modes. These two groups were then divided into further themes including: elements of music and improvisational musical techniques; visual cues; vocal activity; gestures and body language; movement activity and time/space. These themes were then correlated and compared with the corresponding features and descriptions of improvisational music therapy and intensive interaction. The findings suggest there is a relationship between the concepts used intensive interaction and the improvisational music therapy practices of the music therapy student; they both share features of the naturalistic processes of ‘infant-caregiver interactions’ within the elements of music, with both parties fine-tuning to one another’s rhythmic, melodic, textural and temporal nuances. However, improvisational or creative music therapy combines more complex usage of the elements of music including musical form, structure and texture to provide an interpersonal experience through a therapeutic relationship. That relationship is reliant on the music therapist’s sophisticated skills to combine emotion and music within the improvisational process. The strengths and limitations of the study are stated along with implications for training and further research in the field of music therapy and special education.
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    Music analysis of clinical improvisations with an adolescent who has communication difficulties : a thesis presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington
    (Massey University, 2010) Wang, Anna Ping-An
    This qualitative study examines four improvisations taken from four phases of the researcher’s clinical music therapy experience with an adolescent who had Autism Spectrum Disorder (ASD). Therapeutic changes and communicative qualities in the improvisations were traced through reviewing clinical notes and journal reflections, and using adapted versions of Bruscia’s Improvisational Assessment Profiles (Autonomy and Variability profile) to provide insights to the description and interpretation of the music. The results suggest a progression in the client’s awareness of the music therapy student (MTS) (who later became the researcher) an increased ability to interact through turn-taking, imitating, sharing and empathetic playing, as well as enhanced non-verbal and verbal skills. The analyses unfold the client and the music therapy student’s journey in music therapy, highlighting the process of how two strangers became partners through improvisations.