Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Sight-Reading and Improvisation

No description

Melissa Ong

on 6 December 2013

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Sight-Reading and Improvisation

Sight-Reading vs. Improvisation

What we're going to cover today:
Psychological Research
What has psychological research on sight-reading and improvisation tended to focus on?
They aren't very different at all!
Motor Processes
Musicians are required to generate and execute motor program sequences “online” in response to a stimulus

Degree of Creativity / Variability
Useful Tips!
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
Useful Tips...
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
Stylistic Awareness
Solutions to variables are expected to be

Require style-specific knowledge from which to compile a suitable motor programme

Sight Reading
1. Perceiving Notation

2. Processing Visual Information

3. Execution of Motor Programme
1. Planning

2. Execution
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
Full transcript