Abstract
Context and Aims.
The album features a 19-piece ensemble including strings, with arrangements focused on creating space for contextual improvisations that demonstrate melodic approaches to target tones within the approach area, dynamic contouring and the application of complex musical constructions (Toiviainen, 1995) displaying specific examples of musicality, and reinforcing resolved phrases and sonorities.
Methodology The work of Dreyfus, H.L. and Sudnow, D. (2001), on skill development, informed practice methodology timelines in formulating processes, aiding analyses of transcriptions. Restrictive practice techniques enable development within isolated areas, seeking personal growth by marginal gains in targeted improvement across a range of musical language applications, Syed, M (2010). The work of Bjerstedt (2014) and Sawyer (2009), regarding narrative techniques, and Torrance and Schuman’s work on improvisation and cognitive science (2018), guided transcription analysis of reflexive performance from internalized procedure.
Findings An original strategy for dynamic contouring informed by conversations with Dr. S Ryan, (2017) Ulster University saw the development of a number system planning dynamics across a line: numbers applied from 1-10, pp-ff, detailing linear dynamic contour, and through dissemination, reinforcing intent of improvisatory statements performed. Dynamic contouring enhances the effect of tension and release, Jarvinen, T. (1999), and Campbell, J.M. (2015), as evidenced in: After the Love has Gone, Brigitte and Here’s to Life. Here’s to Life: starting at 2 minutes, the opening statement climbs from 2-3, A to F, then rising to an 8, the G quaver bar 2 over the C13, and falling to a 3 on the C, bar 4, the target note 9 and phrase end-note on the Bbmaj7. I designed specific dynamic contouring approaches that highlight impacts of tension and release, enhanced by targeted restrictive practice approaches within linear improvisatory statements which resolve to target-tones, Crook, H., creating a personalised approach to narrative, stimulated by generated motivic ideas.
Dissemination: released on TeddyD records, May 2018
The album features a 19-piece ensemble including strings, with arrangements focused on creating space for contextual improvisations that demonstrate melodic approaches to target tones within the approach area, dynamic contouring and the application of complex musical constructions (Toiviainen, 1995) displaying specific examples of musicality, and reinforcing resolved phrases and sonorities.
Methodology The work of Dreyfus, H.L. and Sudnow, D. (2001), on skill development, informed practice methodology timelines in formulating processes, aiding analyses of transcriptions. Restrictive practice techniques enable development within isolated areas, seeking personal growth by marginal gains in targeted improvement across a range of musical language applications, Syed, M (2010). The work of Bjerstedt (2014) and Sawyer (2009), regarding narrative techniques, and Torrance and Schuman’s work on improvisation and cognitive science (2018), guided transcription analysis of reflexive performance from internalized procedure.
Findings An original strategy for dynamic contouring informed by conversations with Dr. S Ryan, (2017) Ulster University saw the development of a number system planning dynamics across a line: numbers applied from 1-10, pp-ff, detailing linear dynamic contour, and through dissemination, reinforcing intent of improvisatory statements performed. Dynamic contouring enhances the effect of tension and release, Jarvinen, T. (1999), and Campbell, J.M. (2015), as evidenced in: After the Love has Gone, Brigitte and Here’s to Life. Here’s to Life: starting at 2 minutes, the opening statement climbs from 2-3, A to F, then rising to an 8, the G quaver bar 2 over the C13, and falling to a 3 on the C, bar 4, the target note 9 and phrase end-note on the Bbmaj7. I designed specific dynamic contouring approaches that highlight impacts of tension and release, enhanced by targeted restrictive practice approaches within linear improvisatory statements which resolve to target-tones, Crook, H., creating a personalised approach to narrative, stimulated by generated motivic ideas.
Dissemination: released on TeddyD records, May 2018
| Original language | English |
|---|---|
| Place of Publication | Ireland |
| Publisher | TeddYD Records |
| Edition | 1 |
| Media of output | CD |
| Publication status | Published (in print/issue) - 18 Apr 2018 |