Teaching Documents by Tito Marcos
Patrones 555-777: opción => decisión…
Estrategias para la improvisación de series tonales a partir de algunos conceptos generativos: re... more Estrategias para la improvisación de series tonales a partir de algunos conceptos generativos: repetición, inversión, transporte, fusión rítmica, sustitución, permutación, variación, etc.
Jazz improvisation reflects the real-time integration of generative processes with musical knowle... more Jazz improvisation reflects the real-time integration of generative processes with musical knowledge representation. This impressive ability has surprisingly received little attention from the psychomusicological research community as a whole. Fortunately, in April 2013, Martin Norgaard and his colleagues at Georgia State University hosted a conference on the psychology of music improvisation called "The Improvising Brain." The present special issue of Psychomusicology: Music, Mind & Brain (PMMB) entitled "Jazz Improvisation: Cognitive Perspectives" is an outcome of that conference. The featured articles represent one of the first, if not the first, collections to focus on the music-cognitive-motor behaviors and processes associated with jazz improvisation. The authors use the style of jazz as a vehicle for broader discussions of improvisation in music, which of course is by no means limited to jazz. In other words, the special issue is more about music improvisation than about jazz per se. I would like to thank Martin Norgaard, Susan Rogers, and Peter Vuust for serving as Guest Coeditors. Their issue for PMMB reaches a new milestone in the separate histories of jazz and music psychology. This milestone was unimaginable just a few decades ago and is reached today largely through the efforts and talents of the editorial team. Martin kindly accepted my invitation to consider a publication with his conference as a springboard. His experience in and enthusiasm for research on cognitive processes underlying jazz improvisation, his background as a jazz fiddler and jazz educator, his editorial experience and strong organizational skills served him well as the lead Coeditor. Guest Coeditor Susan Rogers was well placed as a faculty member at Berklee College of Music, historically a training ground for jazz musicians. A professional recording engineer and producer before coming to the field of music psychology, her psychoacoustic rigor and her experience with the nuances of performance offered valuable assets to the editorial team. Completing the trio was Peter Vuust of Aarhus University, in Denmark. As a professional jazz bassist and prolific neuroscientist, his insights and cooperation were invaluable. The resulting collection is full of lively original content. Though the articles were on jazz improvisation, it was not the case, however, that "anything goes." All submissions were internally reviewed, and, with the exception of the introduction by Martin Norgaard and a report on the conference, all were externally reviewed. In accordance with the publication policy of the American Psychological Association, for the two research articles submitted by the Guest Coeditors, neither the Guest Coeditors nor the Editor of the Journal, nor its Associate Editors served as action editors or reviewers. In the two exceptional cases, Amy Graziano and Christine Beckett kindly served as Guest Action Editors in charge of respective peer reviews. The journal also acknowledges the host of external reviewers who read and commented on submissions. First and foremost, however, the authors are thanked for sharing their work. Although each of their contributions stands on its own, together the collection provides a foundation that should well inspire research in this important area. PMMB will certainly welcome future manuscripts on this topic. "Jazz Improvisation: Cognitive Perspectives" Volume 23, Issue 4, completes the first year of quarterly publication of PMMB. With this special issue, 2013 ends on an upbeat. The journal has much in store for its readership in 2014. While we look ahead, it is also important to look back to those on whom the achievements of the past year rely. The dedicated meticulous support of John Hill, who is the manuscript coordinator for the Journal, is greatly appreciated. The conscientious assistance of Carol Jones the Manager, APA Journal Production, and the generous guidance of Annie Hill, Managing Director, Educational Publishing Foundation APA, are also most gratefully acknowledged. My deepest appreciation is expressed to the unwavering Correspondence concerning this article should be addressed to Annabel J.
Jazz as Narrative: Narrating Cognitive Processes Involved in Jazz Improvisation, 2019
Introduction
This chapter examines jazz improvisation, using the concept of narrative in two diff... more Introduction
This chapter examines jazz improvisation, using the concept of narrative in two different ways. First, it addresses narrative as a problematic met- aphor among jazz musicians and scholars—“improvisation is storytell- ing.”1 Although jazz musicians seek to maintain awareness of the narra- tive frame, or schema, of the initial song form, as they create variations to tell their own individualized story, they must also react instantly to the other musicians simultaneously creating their own variations. As a result, the improvisers’ intention with respect to their story may not be so simply defined…
COGNITIVE PROCESSES IN THE PERCEPTION OF ART, 1984
COGNITIVE PROCESSES IN THE PERCEPTION OF ART (Elsevier 1984)
Jazz Improvisation and Organizing, 1998
Organization Science, Vol. 9, No. 5, Special Issue: Jazz Improvisation and Organizing (Sep. - Oct... more Organization Science, Vol. 9, No. 5, Special Issue: Jazz Improvisation and Organizing (Sep. - Oct., 1998)
Procesos generativos, 2022
Como iniciación a determinados procesos generativos básicos que tienen lugar en la improvisación,... more Como iniciación a determinados procesos generativos básicos que tienen lugar en la improvisación, se plantean aquí algunas consideraciones en relación con lo que de una forma general podríamos llamar pensamiento generativo.
Recopilación fichas de trabajo sobre interpretación-improvisación (acordeón)
Melodía de acordes, 2021
El concepto de melodía de acordes se analiza aquí desde la perspectiva de la improvisación…
Quodlibet 28, 2004
Reflexiones en torno a la improvisación: un análisis comparativo
Bruno Nettl
Sobre la improvisac... more Reflexiones en torno a la improvisación: un análisis comparativo
Bruno Nettl
Sobre la improvisación musical
Philip Alperson
Improvisación
Barry J. Kenny, Martin Gellrich
Cuatro conversaciones sobre improvisación
Pedro Sarmiento
Aspectos temporales de la improvisación, 2021
Aspectos temporales de la improvisación en el acordeón…
patrones modales 2018, 2018
El presente conjunto de fichas trata sobre los siguientes temas:
Procesos multi-modales (ver desa... more El presente conjunto de fichas trata sobre los siguientes temas:
Procesos multi-modales (ver desambiguación del término modal como proceso perceptivo…)
Accesibilidad (desde el punto de vista de la memoria procedimental…)
Agrupamiento de patrones modales (perspectiva conceptual y de accesibilidad motora…)
Algunas consideraciones (conceptuales…) implícitas en los esquemas gráficos…
Y una definición gráfica y contextual de determinados conceptos básicos tenidos en cuenta
método de acordeón (revision 2018)
Acordeón: Improvisación: Ficha de trabajo: Patrones cromáticos y simetría digital
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Teaching Documents by Tito Marcos
This chapter examines jazz improvisation, using the concept of narrative in two different ways. First, it addresses narrative as a problematic met- aphor among jazz musicians and scholars—“improvisation is storytell- ing.”1 Although jazz musicians seek to maintain awareness of the narra- tive frame, or schema, of the initial song form, as they create variations to tell their own individualized story, they must also react instantly to the other musicians simultaneously creating their own variations. As a result, the improvisers’ intention with respect to their story may not be so simply defined…
Bruno Nettl
Sobre la improvisación musical
Philip Alperson
Improvisación
Barry J. Kenny, Martin Gellrich
Cuatro conversaciones sobre improvisación
Pedro Sarmiento
Procesos multi-modales (ver desambiguación del término modal como proceso perceptivo…)
Accesibilidad (desde el punto de vista de la memoria procedimental…)
Agrupamiento de patrones modales (perspectiva conceptual y de accesibilidad motora…)
Algunas consideraciones (conceptuales…) implícitas en los esquemas gráficos…
Y una definición gráfica y contextual de determinados conceptos básicos tenidos en cuenta
This chapter examines jazz improvisation, using the concept of narrative in two different ways. First, it addresses narrative as a problematic met- aphor among jazz musicians and scholars—“improvisation is storytell- ing.”1 Although jazz musicians seek to maintain awareness of the narra- tive frame, or schema, of the initial song form, as they create variations to tell their own individualized story, they must also react instantly to the other musicians simultaneously creating their own variations. As a result, the improvisers’ intention with respect to their story may not be so simply defined…
Bruno Nettl
Sobre la improvisación musical
Philip Alperson
Improvisación
Barry J. Kenny, Martin Gellrich
Cuatro conversaciones sobre improvisación
Pedro Sarmiento
Procesos multi-modales (ver desambiguación del término modal como proceso perceptivo…)
Accesibilidad (desde el punto de vista de la memoria procedimental…)
Agrupamiento de patrones modales (perspectiva conceptual y de accesibilidad motora…)
Algunas consideraciones (conceptuales…) implícitas en los esquemas gráficos…
Y una definición gráfica y contextual de determinados conceptos básicos tenidos en cuenta