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Sight-Reading and Improvisation
Melissa Ongon 6 December 2013
Transcript of Sight-Reading and Improvisation
What we're going to cover today:
What has psychological research on sight-reading and improvisation tended to focus on?
They aren't very different at all!
Musicians are required to generate and execute motor program sequences “online” in response to a stimulus
Degree of Creativity / Variability
PRACTISE PRACTISE PRACTISE
Laying the Groundwork
The author's definition of sight-reading & improvisation and a discussion of their merits & limitations
The Main Body
A brief summary of the chapter, including a critical analysis of its contents (and lack thereof)
The Cognitive Processes that unite both
To help us become better
sight-readers / improvisers :)
Largely mechanical task, essentially unimatinative
Art that has the potential for individuality and self-expression
Sight-Reading: Focused almost exclusively on music of the Western classical tradition
The great majority of research for both has been conducted using keyboard instruments
Prep.Time & Adaptability
Performance of musical material without overt preparation
Open skills: require the performer to adapt constantly to a changing environment
Solutions to variables are expected to be
Require style-specific knowledge from which to compile a suitable motor programme
1. Perceiving Notation
2. Processing Visual Information
3. Execution of Motor Programme
Was the chapter well organised?
Writing Style: was the language clear and engaging?
How useful was the Chapter?
Performance of notated music, mostly from the Western classical repertory
Associated with oral traditions, chiefly jazz
Improvisation: Focused on
American jazz styles