Cognitive Processes in Improvisation

Pressing, Jeff

doi:10.1016/s0166-4115(08)62358-4

Cited by 122 publications

(95 citation statements)

References 15 publications

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“…The knowledge base represents the tradition and strategies for creating improvisations in real-time (Pressing, 1984(Pressing, , 1998. It is built into the long-term memory of the performer through practice, listening, and cultural immersion.…”

Section: The Knowledge Basementioning

confidence: 99%

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Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Norgaard

2011

Journal of Research in Music Education

107

147

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.

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Section: The Knowledge Basementioning

confidence: 99%

“…Pressing (1984) explains that "the referent is an underlying formal scheme or guiding image specific to a given piece" (p. 346). An example from the jazz repertoire is the tune "Body and Soul," which includes a melody and corresponding chord progression.…”

Section: Large Structures In the Knowledge Basementioning

confidence: 99%

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Norgaard

2011

Journal of Research in Music Education

107

147

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“…For example, improvisation is referred to as "thinking in the midst of action" in education (Irby 1992, p. 630), occurring when "acts of composing and performing are inseparable" in communication (Bastien and Hostager 1992, p. 95), "reading and reacting in parallel" in sports psychology (Bjurwill 1993, p. 1383), "real-time composition" (Pressing 1984, p. 142;Pressing 1988) and "making decisions affecting the composition of music during its performance" (Solomon 1986, p. 226) in music, and representing "no split between design and production" in organizational studies (Weick 1993a, p. 6). By focusing on the simultaneity of events, this research also follows in the tradition of organizational theoImprovisation in New Product Development/ 3 ries of temporal order (Cohen, March, and Olsen 1972;Van de Ven 1986.…”

Section: Improvisation Definition and Discrimination From Related Conmentioning

confidence: 99%

The Convergence of Planning and Execution: Improvisation in New Product Development

Moorman

Miner

1998

Journal of Marketing

422

510

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“…This skill, while procedural, represents a metaroutine, as opposed to a single routine that the improviser can access during improvisation. Our review of the literature suggests that this skill can be learned and that it can, in turn, influence a variety of improvisational outcomes (see Borko &Livingston, 1989, andPressing, 1984).…”

Section: Improvisationmentioning

confidence: 99%