Music:
Member Since: 4/19/2006
Band Website: myspace.com/learnartist
Band Members:
{Spring Praises - Mandorla Netlabel 007}
Wilfrido Terrazas, Harp and Live Electronics, Christian Munthe, Terje Paulsen, Marie Lipkau, David Stackenas, Ensamble Aspero, Alexander Bruck, Ivan Naranjo, Eduardo Melendez, Carlos Icaza , Ryuta Kawabata, Oldman, Bernhard Günter, Tony Renner, The Upside-Down Me, Julio Clavijo, & Arthur Henry Fork
Compilation by Manrico Montero Calzadiaz
http://www.mandorla.com.mx
Influences:
Sounds Like:
IMPROVISATION: METHODS AND MODELS
Jeff Pressing
I. Introduction
How do people improvise? How is improvisational skill learned and taught?
These questions are the subject of this paper. They are difficult questions,
for behind them stand long-standing philosophical quandries like the origins of
novelty and the nature of expertise, which trouble psychologists and artificial
intelligence workers today almost as much as they did Plato and Socrates in the
fourth and fifth centuries BC.
To begin with, improvisation (or any type of music performance) includes the
following effects, roughly in the following order:
1. complex electrochemical signals are passed between parts of the nervous
system and on to endocrine and muscle systems
2. muscles, bones, and connective tissues execute a complex sequence of
actions
3. rapid visual, tactile and proprioceptive monitoring of actions takes place
4. music is produced by the instrument or voice
5. self-produced sounds, and other auditory input, are sensed
6. sensed sounds are set into cognitive representations and evaluated as
music
7. further cognitive processing in the central nervous system generates the
design of the next action sequence and triggers it.
- return to step 1 and repeat -
Type of Label: None
