Music Improvisation

This article discusses the creative practice behind Strung Together, an intercultural collaboration combining three non-congruent improvisation-based musics. An account of my experience as ‘musical-facilitator’ is framed with reference to theoretical constructs of cultural integration, compositional practice and collaborative creativity. By focusing on the process (comprising rehearsals, continual dialogue, co-composition, and coalesced methods of improvisation) and the development of an innovative working methodology (using notated ‘starting points’, which often evolve into ‘collective backbones’), this practice-led case study demonstrates that by inaugurating a democratic environment – where manifold approaches to music-making are properly considered and respected at a structural level – music-cultural hybridity is achievable within a limited time frame. Through pre- and post-project reflection, this account posits the notion that music-cultural hybridity may assume and traverse v...

Elementi di armonia e contrappunto guida il lettore in un percorso che unisce rigore teorico e contatto diretto con la musica, attraverso l'analisi di brani tratti dal repertorio, nella tradizione dei manuali di Walter Piston e Diether de la Motte. Armonia e contrappunto sono presentati come aspetti inscindibili di un unico linguaggio, illustrato con esempi provenienti dalle opere dei grandi compositori attivi fra l'inizio del Settecento e i primi decenni dell'Ottocento.
Questa nuova edizione, notevolmente ampliata, offre un corredo ancora più ampio di esempi e introduce test di verifica alla fine di ogni capitolo, per consolidare l'apprendimento e supportare il lavoro del docente, se adottata come libro di testo in un corso di studi.
Destinato a chi padroneggia già i fondamenti dell'armonia, il volume si colloca a un livello di formazione intermedio, ideale per le discipline del settore artistico-disciplinare Teoria dell'armonia e analisi nei corsi accademici di primo livello dei Conservatori di musica. La struttura ipertestuale e i numerosi rimandi interni favoriscono una lettura flessibile e personalizzata, adatta sia allo studio sistematico sia all'approfondimento mirato di singoli temi.

En este artículo nos proponemos discutir algunos aspectos relacionados al análisis morfológico aplicado a la música tonal del período de la práctica común, tomando como punto de partida el estándar analítico establecido por Douglas Green, y su presentación en "Form In Tonal Music, An introduction to Analysis". Plantearemos una extensión del modelo analítico enfatizando el sentido de la forma como proceso y su articulación con el tradicional esquema de partes preestablecido.

En este artículo se presenta una primera profundización analítica acerca de los Procesos Morfológicos en la Música Tonal. Se prosigue con las discusiones iniciadas en la previa presentación de los autores sobre este tema, en el artículo denominado "Aspectos del Proceso Morfológico en la música tonal" 1 . Allí se planteaban algunos aspectos relacionados al análisis morfológico aplicado a la música tonal del período de la práctica común, en relación al estándar analítico establecido por Douglas Green, y su presentación en "Form In Tonal Music, An introduction to Analysis".

La posibilidad de comprender que una concepción gestual de una obra musical nos aproxima a concebirla como una unidad compleja es la idea que fundamenta este trabajo. Partimos de miradas totalizadoras sobre las interacciones de todos sus materiales constitutivos, insertas en contextos culturales específicos. Desde estas perspectivas, emergen preguntas en cuanto a aquellos comportamientos musicales que quedan ocultos, invisibilizados, no percibidos. Así, podemos aventurarnos en una escucha musical no guiada, únicamente, por un orden lineal, dogmático y normativo, sino que nos invita a plantearnos otras escuchas que puedan generar metodologías de análisis desconocidas hasta el momento y que nos acerquen a comprender la significación de una obra musical concebida como un emergente cultural.This work is founded on the possibility of understanding that a gestural conception of a piece of music approaches us to its conception as a complex unit. We base our assumptions on the comprehensive...

Resumen La posibilidad de comprender que una concepción gestual de una obra musical nos aproxima a concebirla como una unidad compleja es la idea que fundamenta este trabajo. Partimos de miradas totalizadoras sobre las interacciones de todos sus materiales constitutivos, insertas en contextos culturales específicos. Desde estas perspectivas, emergen preguntas en cuanto a aquellos comportamientos musicales que quedan ocultos, invisibilizados, no percibidos. Así, podemos aventurarnos en una escucha musical no guiada, únicamente, por un orden lineal, dogmático y normativo, sino que nos invita a plantearnos otras escuchas que puedan generar metodologías de análisis desconocidas hasta el momento y que nos acerquen a comprender la significación de una obra musical concebida como un emergente cultural. PalabRas clave Análisis musical, gestualidad musical, complejidad, contexto social abstRact This work is founded on the possibility of understanding that a gestural conception of a piece of ...

This work is founded on the possibility of understanding that a gestural conception of a piece of music approaches us to its conception as a complex unit. We base our assumptions on the comprehensive views on the interactions among all its constitutive materials, inserted in specific cultural contexts. From these perspectives, questions related to the hidden, invisible and unperceived musical behavior arose. This way, we can embark on a musical listening which is not just guided by a lineal, dogmatic and normative order, but also invites us to question other types of listening that generate methodologies of analysis that are so far unknown and help us comprehend the meaning of a piece of music as a cultural resultant.

El presente artículo aborda la adaptación al piano de un género de la música tradicional andina, como es el wayno mestizo ayacuchano. El wayno es el género más popular en todo el Perú, es a la vez música, poesía y baile de pareja. Este trabajo analiza el contexto en el que se producen las adaptaciones de este género en el piano, instrumento asimilado a la música andina desde fines del siglo XIX, las características específicas de los elementos musicales en el estilo ayacuchano y cómo Oswaldo Mendieta Irrazával las adapta al piano poniéndole su creatividad personal.

Bosquejo de solución Innovadora:

Problema

La estrategia utilizada para esta problemática se centra en la brecha digital en estudiantes de educación básica en México, donde miles de niños y jóvenes carecen de dispositivos, conectividad estable o formación en competencias digitales. Donde limita sus oportunidades de aprendizaje, creatividad y acceso al futuro mercado laboral.

Solución Innovadora

Aulas digitales Aulas Digitales Comunitarias Itinerantes: Com una creación de unidades móviles equipadas con tablets, internet satelital y software educativo gamificado de la siguiente manera:
• Innovación: Donde se combina la movilidad de bibliotecas rodantes con tecnologías digitales y metodologías de aprendizaje basado en los problemas.
• Donde se enfoca el aprendizaje colaborativo y creativo, incorporando técnicas como los Seis Sombreros de DeBono y actividades que estimulan tanto pensamiento divergente como convergente.
• Con una propuesta de no solo facilita el acceso tecnológico, sino que también enseña a usarlo creativamente para resolver con problemas reales de la comunidad.

Principales pasos  o fases  para implementar

Preparación y diagnóstico
Se identificará comunidades con mayor índice de exclusión digital.
Conectar datos de conectividad, número de estudiantes así como recursos locales disponibles.

Diseño e incubación
Donde se creará un modelo de aula itinerante con apoyo de universidades (UVM, facultades de ingeniería y educación).
Se diseñará actividades educativas centradas en creatividad, innovación y pensamiento crítico.
Con Implementación piloto
Se llevará a cabo en dos unidades móviles en zonas rurales de México
Se medirá el impacto en habilidades digitales, participación creativa y resolución de problemas en los estudiantes.





Escalamiento y verificación
Se ajustará el modelo con base en la retroalimentación de estudiantes, docentes y comunidades.
Donde se buscará financiamiento en(empresas tecnológicas + gobierno + fundaciones educativas).
Se extenderá el programa a 10 estados del país en

Resumen Este artículo aborda la corporalidad en las competencias de freestyle a partir de preguntarse cómo media la presencia del cuerpo en la elaboración de improvisaciones de rap. Para llevar a cabo este estudio se reponen coordenadas teórico-metodológicas presentes en los Estudios del Afecto aplicados en el trabajo etnográfico. Arribamos a la idea de que los afectos circulan y se materializan en los cuerpos de los participantes, modulando las intensidades con que se desarrolla la competencia. Esto se vuelve un recurso para la acción de los improvisadores, a partir del registro de estados corporales y afectivos de sus adversarios, o bien en la necesidad de realizar ajustes sobre la propia puesta en escena. A su vez, proponemos un marco interpretativo sobre el lenguaje afectivo con el que los participantes comentan su experiencia vívida en competencia, a través de nociones nativas como "descarga", "energía" o "adrenalina".

O presente trabalho versa sobre a temática da interação no contexto da improvisação musical a partir do estudo de caso do grupo musical paulistano Trio Ciclos, composto por Alex Buck (baterista), Bruno Migotto (baixista) e Edson Sant’anna (pianista). A partir de um enfoque qualitativo por meio de entrevistas semiestruturadas com os músicos do grupo, bem como por meio da contextualização do trio nos campos da performance e da improvisação, a pesquisa aborda a interação com base na análise de três performances selecionadas: Maxixe, Mobile Merengue e Mobile Rock, apresentadas no ano de 2017 pelo festival Ilhabela In Jazz. Como fundamentação das análises, utilizamos a abordagem da interação por meio de papéis discutida pela pesquisadora Jacqueline Walduck (1997), a qual considera a interação na improvisação musical como um processo dinâmico, estruturado pelas diferentes formas de comportamentos assumidos pelos improvisadores. Conjugada à ideia de papéis, é discutida a interação do grupo por meio do conceito de atratores, conforme abordado por Clément Canonne e Nicolas Garnier (2012), como momentos articulados durante a improvisação que contribuem por estabelecer momentos de consenso musical e que induzem os improvisadores a se engajarem por sonoridades de diversas maneiras. Como forma de visualização dos processos de interação abordados em análise, é utilizado o modelo gráfico de Bruce Coates (2002), em que o autor propõe uma representação gráfica como uma maneira de complementar a descrição verbal dos elementos observados e analisados. Com o objetivo de abordar os papéis e atratores graficamente a partir da formação de trio (baixo, piano e bateria), são realizadas algumas expansões do modelo gráfico de Coates (2002). Por fim, o trabalho visa contribuir para futuras metodologias de análise que abarquem a temática da interação, bem como apontar para considerações práticas acerca da interação na improvisação em música

In tien thematische stappen schetst Paul Timmermans een breed en genuanceerd panorama van de hedendaagse muziek. Voor de nieuwsgierige leek vormt dit een toegankelijke inleiding tot een veelzijdige wereld van klankexperiment, technologische vernieuwing en artistieke grensverlegging. Voor de kenner biedt het een gestructureerd en veelstemmig overzicht van de uiteenlopende stromingen en praktijken die sinds de historische avant-garde tot vandaag hun stempel hebben gedrukt: van minimalisme tot elektronica, van soundobjects en soundscapes tot multimedia en AI-gestuurde creatie. Daarbij vindt de lezer achteraan een selectie van aanbevolen bronnen en referenties, evenals een verklarende lijst van namen en vakjargon die de tekst extra toegankelijk maakt. Het resultaat is een actuele mini-geschiedenis van de eigentijdse muziek — compact, inzichtelijk en inspirerend, met oog voor zowel traditie als toekomst.

In Canada's province of Alberta, senior high school General Music 10-20-30 is a sequence of courses for students who are interested in a broad spectrum of musical experiences within a nonperformance-based environment but not interested in specializing in choral or instrumental performance. General Music 10, 20, and 30 courses are offered for 3 or 5 credits. Each general music course includes required and elective components. Each module contains the knowledge, skills, and attitudes that most students can achieve in 25 hours of instruction. Some modules are developed in a three level sequence. In these cases, the preceding level is a prerequisite to the succeeding one. The program modules are: (Required Components

In Canada's province of Alberta, senior high school General Music 10-20-30 is a sequence of courses for students who are interested in a broad spectrum of musical experiences within a nonperformance-based environment but not interested in specializing in choral or instrumental performance. General Music 10, 20, and 30 courses are offered for 3 or 5 credits. Each general music course includes required and elective components. Each module contains the knowledge, skills, and attitudes that most students can achieve in 25 hours of instruction. Some modules are developed in a three level sequence. In these cases, the preceding level is a prerequisite to the succeeding one. The program modules are: (Required Components

The purpose of this chapter is to examine the organization of musical performance about different levels of time, as a dimension, along with that of sound, through which music acquires reality. Attention is paid to musical skills, rules, and meanings, including the organization of the group of musicians and the micro-social production of sound/music in performance, especially the mutual attunement of musical beats. The collective percussion practice of candombe is analyzed, but comparisons are also made with jazz, samba, and Afro-Cuban conga. The question about that dimension unfolds into others, depending on the level of observation-participation and the methodological tools adopted. Therefore, the work is divided into three parts, the first two serving as an introduction to the central question. The first introduces cyclical aspects in different scalarities of structured time. The second addresses the self-regulation of the collective as a processual and cyclical phenomenon in time. The third addresses the microstructuration of time and the collective production of musical pulsation. Through these analyses, the importance of considering the articulation of a double legacy is suggested: matrices and principles of African cultural organization; arrays and meanings created from dramatic experiences in New World societies, inscribed in ritual practices as collective musical performance technologies (skills and embodiments).

This research delves into the powerful synergy between contemporary music and contemporary dance, exploring their potential as a unified interdisciplinary art form. Rooted in the natural harmony of sound and movement, it seeks to rediscover their historical connection while addressing modern societal challenges such as intellectualism, relativism, and the pursuit of meaning in an age of chaos. Through structured improvisation, this study reimagines their relationship, emphasizing their capacity to evoke profound emotional resonance and poetic storytelling. Building on traditions from jazz, folk, and techno, this project integrates creative experimentation with academic reflection, embracing improvisation as both a method and a philosophy. By weaving the expressive capabilities of music and dance into a cohesive medium, it aims to bridge the gap between the abstract and the tangible, bringing art closer to the lives of communities and fulfilling its essential role in society. The investigation culminates in performances, workshops, and reflective documentation, offering new pathways for artists and audiences to connect deeply with art. By grounding itself in the longing for beauty and the need for renewal, this work contributes to a burgeoning discourse on interdisciplinary art, inspiring a new Renaissance for contemporary music and dance.

Con questa collana editoriale Progetti Sonori e Centro Studi Maurizio Di Benedetto intendono promuovere l'invenzione come forma di esperienza e di pensiero, come modalità di relazione nei processi educativi, come strategia metodologica e didattica, come luogo dell'incontro tra scuola e territorio nella costruzione condivisa dei saperi e delle competenze, convinti che inventare serva oggi a bambine e bambini per crescere meglio, ma anche alle società per scegliere il proprio futuro.

This paper explores theoretical perspectives and practical challenges surrounding the evaluation of musical improvisation, with a particular focus on educational contexts. Drawing on both pedagogical literature and philosophical frameworks—especially the contributions of Alessandro Bertinetto—the author examines a wide range of approaches to assessing improvisational practice, from skill-based models and creativity metrics to participatory and process-oriented methods. The discussion highlights the tension between standardized assessment and the inherently emergent, unpredictable nature of improvisation. The author proposes an evaluative model grounded in the autopoietic and transformative qualities of improvisational behavior, suggesting that evaluation should illuminate the interplay between norm application and norm transformation. A detailed rubric is presented to illustrate how evaluative criteria can be aligned with improvisational dynamics across three relational dimensions: the performer’s relationship with self, with other performers, and with the audience. The paper concludes by arguing that effective evaluation should account for both linear and nonlinear temporal structures, and should serve as a reflective tool that supports learning and creative exploration.

A Practical Musicological Approach to Studying Drum Kit Solos In this chapter I explore a recent and continuing phenomenon in my life-that of playing solos at the drum kit (or more accurately, at an evolving array of drum kits) in the art gallery in the College of Fine Arts building where I work at Boston University (BU) in Boston, Massachusets. I discuss drumming in relation to Boyce-Tillman's (2011, 2020) model of Spirituality and frame that discussion with Zagorski-Tomas' (2022) Practical Musicology framework, within which he delineates various approaches to music scholarship. I illustrate in this chapter how my art gallery drumming practice aligns with two of these approaches-autoethnography and practice research.

Maracatu de baque solto" is a Carnival performance combining music, poetry, and dance, occurring in the Zona da Mata Norte region of Pernambuco (Northeast Brazil). Maracatu percussive music is strongly repetitive, and is played as loud and as fast as possible. Both from an MIR and ethnomusicological perspective this makes a complex musical scene to analyse and interpret. In this paper we focus on the extraction of microtiming profiles towards the longer term goal of understanding how rhythmic performance in Maracatu is used to promote health and wellbeing. To conduct this analysis we use a set of recordings acquired with contact microphones which minimise the interference between performers. Our analysis reveals that the microtiming profiles differ substantially from those observed in more widely studied South American music. In particular, we highlight the presence of dynamic microtiming profiles as well as the importance of the choice of timekeeper instrument, which dictates how the performances can be understood. Throughout this work, we emphasize the importance of a multidisciplinary approach in which MIR, audio engineering, and ethnomusicology must interact to provide meaningful insight about this music.

The aim of this article is to assess the relative merits of two approaches to teaching musical improvisation: a music-theoretical approach, focusing on chords and scales, and a 'dramaturgical' one, emphasizing questions of balance, variation and tension. Adult students of music pedagogy, with limited previous experience in improvisation, took part in an improvisation course during which they were given either music-theoretical or dramaturgically oriented instruction. The students' melodic improvisations over a chordal accompaniment from the beginning and the end of the course were subjected to evaluation by a panel of expert judges. The music-theoretical instructions led to a more significant change towards improvisation judged as 'dissonant' and 'independent of the chord changes', whereas dramaturgical instructions led to a more significant change towards 'rhythmically varied' playing. These and other results from the expert judgments are compared to the improvisers' self-evaluations as well as computational analyses of rhythmic entropy in the improvisations.

Dimitra Kokotsaki is jointly appointed by the CEM Centre (Curriculum, Evaluation and Management Centre) and the School of Education at the University of Durham. As a member of the Education Evaluation Group, she is carrying out a variety of evaluations of educational initiatives. She is currently involved in the evaluation of the Creative Partnerships project at Tees Valley, and North and South Tyneside. Her teaching role at the School of Education involves running the PGCE in secondary music education. Her research interests include musical performance anxiety, ensemble playing, social interaction and the psychology of musical performance, and issues relating to the education of trainee teachers and music teachers' job satisfaction and professional well-being. She has published relevant research studies in academic journals.

While researchers have explored concepts relating to both Music Performance Anxiety (MPA) and informal music learning, few have related the two subjects to each other. The purpose of this study was to explore formally trained musicians’ experiences with MPA in informal contexts. Specifically, I examined informal musicians’ learning and performing environments, and the relationships they share with musicians’ perceptions of MPA. Primary data included two rounds of recorded interviews. Findings revealed that physical venues, audience size, audience makeup, financial factors, audience reception, interpersonal relationships among bandmates, creative ownership over music they performed, and motivation to prepare for performances all played a part in how participants perceived MPA in informal contexts. Participants felt that the degree to which their informal learning and performance experiences were dissimilar to their formal school music settings related directly to the genre of the for...

The priority of promoting children's creativity and democracy in education, which includes values such as freedom of expression, competence, respect for diversity, empathy, collaboration, dialogue and the development of critical thinking and curiosity, is strongly supported by communities of practice that foster these values and promote heuristic and sociocultural approaches to music learning and artistic expression. The research explored how children aged 5-10 years (N = 10) used musical and artistic forms for creative expression in music drama activities within a community of practice (music drama studio), and how elements of democratic education were manifested in these activities. An ethnographic case study in early childhood education and care was used to explore children's culture, experiences and actions through interactional and participatory observation methods. The data were analysed through a written protocol of observation, transcriptions and video recordings. An inductive and deductive thematic analysis was used to better structure and interpret the data, organised into two main themes (categories): Forms of creative artistic expression and Democratic aspects of education. The conclusion emphasises that the integration of music, other arts and process drama within a community of practice, led by a skilled teacher, provides authentic learning opportunities that foster democratic artistic expression, creativity and holistic development, preparing children for active citizenship.

Rhythm is the pattern of regular or irregular pulses caused in music by the occurrence of strong and weak melodic and harmonic beats. African rhythmic pattern is characterized by improvisation and many other rhythmic techniques. The focus of this paper is to analyze the rhythmic pattern of "who man" and to identify and decode cultural values in Nigerian popular Music by examining this Lagbaja's music. To achieve this, the paper adopt both primary and secondary sources of data, with a close listening to the music of Lagbaja "Who man", within the ethno musicological frame work .The paper reveal that in this music, lagbaja used more than one gong which brought about an interlocking rhythmic pattern, the paper further revealed that this popular music brought the younger ones closer to the tradition of using African musical musical instrument which is fast fading away due to the influence of the west and he gave himself a clear identity as an African musician the paper raised the issue of gender inequalities as mention in the music admonishing the men gender to live and treat the female gender appropriately. The paper therefore concludes that with good knowledge of the basic rhythmic pattern or bell pattern in African music, African popular musicians can be more creative and innovative with a clear sense of identity.

Music improvisation is a technique frequently used in the music therapy field. Its application involves emotional support, cognitive evaluation or cognitive/motor rehabilitation. However, its effect as a valid treatment to moderate memory has not been studied. The aim of the present study is to investigate the effect of music improvisation on emotional memory, in adults with or without musical training. Participants watched emotional or neutral images, and rated simultaneously how emotional they felt the images were, from 0 to 10 ( nothing to highly arousing). Later, participants were exposed to a treatment (music improvisation, imitation, or silence). Immediately afterwards, recall and recognition were evaluated. After a week, free recall and recognition were tested again. The main findings of this study were that music improvisation improves free recall and recognition of neutral and emotional images. The results also indicated that musicians showed better emotional memory perform...

Students with autistic spectrum disorders show deficits in social understanding and interactive skills with others, with consequent difficulty in achieving group objectives. Thus, success in group activities is especially significant for such students. We report our experience with four students with autistic spectrum disorders constituting a musical ensemble working together towards a successful stage performance.

Students with autistic spectrum disorders show deficits in social understanding and interactive skills with others, with consequent difficulty in achieving group objectives. Thus, success in group activities is especially significant for such students. We report our experience with four students with autistic spectrum disorders constituting a musical ensemble working together towards a successful stage performance.

Este artigo apresenta resultados parciais de uma pesquisa artística em andamento que, partindo da identificação de uma "cultura de negligência para com o corpo" na tradição da música de concerto, investiga as possíveis contribuições que a abordagem de educação somática Eutonia pode oferecer para a atividade da performance musical nesse contexto. A metodologia utilizada consiste em um estudo autoetnográfico em que o autor busca incorporar os princípios da Eutonia em seu processo de estudo de uma obra para piano solo, identificar as contribuições percebidas e refletir sobre a pertinência dos resultados para a comunidade de músicos no geral. Até o momento, a pesquisa apontou contribuições da Eutonia para o equilíbrio da relação entre performer, compositor e texto musical; para a eficiência e expressividade dos movimentos do performer; para o cuidado com a saúde e bem-estar do músico e para a pluralidade de perspectivas nas pesquisas em performance.

English:
This article presents partial results of an ongoing artistic research, which after
identifying a “culture of neglect towards the body” in the classical music tradition
investigates the possible contributions that the somatic education method Eutony can offer
to musical performance in this context. The adopted methodology consists in an
autoetnographic study in which the author aims to embody the principles of Eutony in his
process of learning a piece for solo piano, identify the perceived contributions and reflect
on the importance of the results to the general community of performing musicians. Up to
this point, the research has showed Eutony’s contributions towards a more balanced
relation between performer, composer and musical text; higher efficiency and expression
in the performer’s movements; the health and well-being of the musician and the variety of
perspectives in research about performance

The growing interest among music theorists in the historical theory of form from the Classical period has significantly changed the way we listen to and understand the works belonging to the strict canon of repertoire. 1 We have become aware that the a priori, normative theory of musical forms applied during the twentieth century was an ahistorical approach. In Mozart's time, the idea of form was viewed

Este artigo tem como objetivo investigar a interpretação musical do multiinstrumentista e compositor Hermeto Pascoal à frente da bateria nos fonogramas Moreneide (Heraldo do Monte), gravado no LP Hermeto Pascoal e Grupo (1982) e Depois do Baile (Hermeto Pascoal), registrada em show de Hermeto Pascoal e Grupo no Festival de Jazz de Vitoria-Gasteiz (1990). A partir de análises que relacionam aspectos rítmicos e melódicos do tema à performance da bateria, apontamos algumas características interpretativas de Hermeto, revelando uma abordagem singular do instrumento.

Esta pesquisa analisa as práticas pedagógicas emergentes no ensino do Violino Popular Brasileiro, com foco nas metodologias observadas em cursos e oficinas dedicados a esse estilo. Inicialmente, explora as distinções entre violino, fiddle e rabeca, situando o violino popular brasileiro na interseção entre a técnica erudita e a cultura oral, criando uma identidade única que atravessa tradições populares e eruditas.
A investigação destaca a recente formalização do ensino do violino popular no Brasil, evidenciada pela criação de métodos pedagógicos que buscam sistematizar o seu aprendizado. Esse desenvolvimento é comparado à evolução do ensino do violino jazz, especialmente na França, que exerce uma influência notável sobre as práticas brasileiras.
Ao analisar as metodologias empregadas pelos educadores, identificadas como pertencentes ao ensino não-formal, observa-se um foco comum na criatividade, improvisação e oralidade, promovendo a autonomia dos alunos. A pesquisa se aprofunda nos aspectos rítmicos e harmônicos, elementos centrais no ensino do violino popular, e examina como a liberdade na escolha do repertório estimula o autoconhecimento e a autenticidade artística.
Apesar da ausência de uma escola formal dedicada a essa prática, há um movimento crescente de organização e reconhecimento dessa prática pedagógica híbrida e inclusiva, que integra elementos do jazz, da rabeca e do violino erudito, refletindo a riqueza da música popular no Brasil.

Tese defendida em novembro de 2024 no Programa de Pós-Graduação em Música da Universidade Estadual de Campinas (Unicamp).

This article presents an ethnographic analysis of the care and attention between other-than-humans and musicians in the contemporary improvised music scene. From dominant Western perspectives, ethical relations are considered in anthropocentric terms: only persons with the capacity for self-awareness, autonomy, and rational judgment are considered able to engage in ethical practice. Even though there are increasing instances in Western contexts of attempts to expand definitions of personhood to other-than-humans, these retain an anthropocentric core. The improvising musicians with whom I worked question such a hegemonic narrative, and, coming from the understanding that the music they make emerges from a dense web of interconnected agencies, make music together with otherthan-humans. In other words, these musicians strive to relate with other-thanhumans in mutual ethical relations of care. Second, even though the trope of improvisation features prominently in the philosophy of ethics, and even though ethical striving in recent anthropological studies of ethics has all the characteristics of improvisation, there is a surprising absence of discussion about improvisation itself. This article begins to address this gap by attending to the practices of skilled improvisers, and offers insights into how people ethically negotiate as yet unknown situations to them, in this case how to relate with other-than-humans. The focus on improvisation itself shows how ethical striving can be generative of ethical possibilities in intercultural and changing circumstances.

The enrolment in a music school is recommended for children who have a strong interest in music, as it provides opportunities to learn musical instruments and, through solfeggio lessons, to develop rhythm and intonation skills. One of the important goals of teaching solfeggio is the development of students' creative abilities, achieved through their involvement in various music-creative activities. However, time constraints and the limited emphasis on musical creativity in instructional materials pose challenges for teachers. This paper offers an overview of relevant literature on music-creative activities in solfeggio lessons. The analysis revealed that there is limited research focusing specifically on this topic. However, based on the available literature, we identified representative examples of music-making activities suitable for solfeggio lessons in primary-level music schools. These activities were categorized into two groups: rhythm-based and melody-based music-creative activities. The identified activities can serve as a valuable starting point for future investigations in this area. Moreover, they provide practical guidance for teachers in the planning and implementation of effective solfeggio instruction, fostering the development of students' creative abilities in music education.

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CO SM O S + TA X IS 20 Understanding is often significantly aided with metaphor and analogy. In this paper, we will argue that the process of jazz music provides a powerful analogy for understanding distributed theories of cognition and systems approaches to biology. Fields like cognitive science and biology often conceive of a difference between “nature” and “nurture”—between organism and environment or between the brain’s cognitive process and the environment it thinks in. Distributed theories of cognition and systems biology both propose a unique take on the interaction between “nature” and “nurture,” essentially arguing that these two cannot meaningfully be separated. Distributed theories of cognition suggest that cognition is shaped by an interaction between brain and external tools that aid the brain’s cognitive process (be it a calculator, cell phone, or paper and pencil). Systems biology similarly conceives of phenotypic development as a deeply interactive process where geno...

According to Laruelle, 'Non-philosophy is doubled more globally by a musical organization or tissue. .. music is the placenta that has to give birth to nonphilosophy'.1 These are remarkable statements, which seem to resonate with the vitality and ambivalence of music for the project of philosophy. What can they tell us about the way non-philosophy seeks to disarm the pretensions of philosophical mastery?