Music Improvisation

If music education is to respond to the skills and needs of 21st-century music learners, innovative learning paradigms must be explored. This dissertation reports a research-creation approach for the development of a framework for Creative Music Learning with Technology (CMLT), which emphasizes a process of learning to interact creatively with music. Theoretical analysis of improvisation pedagogy and technology for learning to improvise provide the foundation for creative experimentation. An examination of existing technologies reveals a lack of available tools for cultivating a creative disposition to musicianship. As a result, a prototype application was built for iPad and iPhone based on the principles of the CMLT framework. The software is at once a tool for developing musical understanding and for exploring creative freedom in music. A two-phased study of middle school instrumentalists and expert teachers examined the effectiveness of the prototype. In the first phase, seven expert music teachers and eight middle school instrumental students participated in user testing, revealing that the prototype effectively engaged users in learning many key objectives of improvisation pedagogy. In the second phase, six middle school students reported increased confidence after using the prototype for four weeks. Results suggest there is a strong potential for the framework for CMLT to positively enhance creative music learning.

Resumo Este projeto partiu da ideia de dois docentes das áreas de improvisação e de percepção musical criando juntos situações em que fluxos entre estas áreas pudessem ocorrer e se retroalimentar. Observando estes fluxos intrínsecos entre a improvisação e a percepção, exploramos relações cognitivas externas e internas em relação aos ambientes e à corporeidade presentes em nossas pesquisas para criar meios que favorecessem, não só a auto-percepção, mas também a interação com o outro através de materiais musicais. Em nosso desejo de interação, marcado pelo período de isolamento gerado pela COVID-19, escolhemos a improvisação como forma de interação sonora, sendo que nossa questão central era como manter as relações que considerávamos mais essenciais nesta prática, mesmo à distância. O suporte visual, que aqui chamamos de interações vídeo-sonoras, fez com que surgisse uma necessidade natural do uso de elementos gestuais e relativos à corporeidade dos instrumentistas. Utilizamos também outros materiais sonoros além de nossos instrumentos, tais como a voz, a água, utensílios domésticos e elementos percussivos. A principal contribuição deste projeto foi a criação de propostas de improvisação musical adaptadas à situação de isolamento e distanciamento e com grande potencial de aplicação em situações pedagógicas. O formato virtual mostrou alternativas que provavelmente não seriam exploradas pela via presencial, apontando para a possibilidade de experimentos híbridos entre as vias presencial e virtual a partir da improvisação musical. O caminho que percorremos mostrou-se aberto, permeável e passível de continuidade. Palavras-chave: processos criativos, improvisação, performance, cognição musical INTRODUÇÃO A prática da improvisação pressupõe uma abordagem específica com relação à construção do conhecimento e ao agenciamento da performance. De um ponto de vista abrangente pode-se dizer que a improvisação se fundamenta em uma atitude radicalmente construtivista, baseada na prática empírica, criativa e experimental-muitas vezes coletiva e interativa-e no pressuposto de que a criação musical envolve a ação e o pensamento. Neste sentido a improvisação pode ser pensada em suas dimensões perceptivas e cognitivas enquanto uma ferramenta para a construção do conhecimento, da escuta e das habilidades que fundamentam e possibilitam a prática musical. Num contexto que privilegia os fluxos de troca em ambientes diversos, o desenvolvimento da percepção-que leva à ação e à reação em momentos de performance-pode ser integrado nos processos criativos como um elemento constituinte. Isto porque, a forma pela qual o sujeito constrói a sua percepção condiciona a estruturação de seu pensamento musical. Assim, a percepção musical, vista enquanto parte do processo de cognição dentro de ambientes de performance, pode ser gradativamente configurada e se construir no contato efetivo do sujeito com o fazer musical, seja este ouvir, tocar, criar ou interpretar. Sob este ponto de vista, seja num âmbito pedagógico ou de performance, a improvisação pode ser um meio privilegiado para promover este tipo de estratégia. Isto porque, na medida em que se trata de uma prática que se coloca em ação enquanto exercício criativo, este pode ser também colocado a serviço da configuração das estruturas cognitivas. Estabelecendo um fluxo contínuo e de trocas entre a improvisação e a percepção também dentro de contextos formativos, observamos que, nos cursos de graduação em Música, muito se discute acerca do repertório utilizado nos estudos da percepção musical, apontando para a necessidade de se ampliar os materiais existentes (Bhering, 2003) e envolver práticas criativas como a improvisação no processo perceptivo (Costa, 2008). Na grade curricular dos cursos de graduação em Música, por exemplo, as aulas de percepção musical são comumente pensadas para trabalhar a acuidade auditiva, desenvolver a fluência na leitura musical, estudar estruturas escalares e rítmicas, entre outros materiais de expressão sonora.

The purpose of this capstone project was to incorporate composition and improvisation activities into a pre-existing piano curriculum for adolescent piano beginners. Most piano method books are designed either for children or adults, but few piano method books are designed for adolescents. The goal in designing creative activities to be used in conjunction with a method book was to allow adolescent beginner piano students the opportunity to assert their musical identity while also reinforcing musical concepts they are learning in the method book. The Understanding by Design framework was used to guide  the creation of the units and individual lessons.

Music performance anxiety (MPA) is common among musicians, and varying levels of MPA inevitably occur in performances. The causes of MPA are difficult to define due to different factors in diverse musicians. Minimal research has been conducted on the causes of MPA and its effect on improvising subjects, specifically percussionists. The following dissertation draws together improvisation and MPA through an analysis of the causes of MPA in improvisational contexts. A proposition of six constraints (tradition, style, performer, instrument, environment and time) was devised by the author through research in existing literature on psychological constraints in improvisation. The ‘six constraints’ were analysed in improvisational contexts as possible causes of MPA. Research originated from personal observations in practice, rehearsals and performances, and was recorded in a reflective journal. Classical and jazz tertiary undergraduate percussionists were also surveyed, which calculated their MPA levels through the Kenny-Music Performance Anxiety Inventory (K-MPAI). A selection of six diverse percussionists (three jazz and three classical) were interviewed and compared to autoethnographic data. Findings suggested that three factors of personal background, perception of the six constraints, and MPA acknowledgement and management had positive and negative effects to MPA levels. These concepts correlated with cognitive processing, and therefore revealed that the musician’s perception affected MPA levels and not the effect of the improvisational context. Further research also found positive factors assisting MPA alleviation, including improvisation and identifying cognitive distortions. The project addresses the importance of MPA, health, and performance psychology in future artistic research to assist creativity and expression.

Summary
This thesis proposes SPECS: a Standardised Procedure for Evaluating Creative Systems.

No methodology has been accepted as standard for evaluating the creativity of a system in the field of computational creativity and the multi-faceted and subjective nature of creativity generates substantial definitional issues. Evaluative practice has developed a general lack of rigour and systematicity, hindering research progress.

SPECS is a standardised and systematic methodology for evaluating computational creativity. It is flexible enough to be applied to a variety of different types of creative system and adaptable to specific demands in different types of creativity. Researchers are required to be specific about what creativity entails in the domain they work in and what standards they test a system’s creativity by. To assist researchers, definitional issues are investigated and a set of components representing aspects of creativity is presented, which was empirically derived using computational linguistics analysis. These components are offered as a general definition of creativity that can be customised to account for any specific priorities for creativity in a given domain.

SPECS is applied in a case study for detailed comparisons of the creativity of four musical improvisation systems, identifying which systems are more creative than others and why. In a second case study, SPECS is used to capture initial impressions on the creativity of systems presented at a 2011 computational creativity research event. Five systems performing different creative tasks are compared and contrasted.

These case studies exemplify the valuable information that can be obtained on a system’s strengths and weaknesses. SPECS gives researchers vital feedback for improving their systems’ creativity, informing further progress in computational creativity research.""

Sul frontespizio de Il tempio dell'armonia, coro a quattro voci con accompagnamento di pianoforte o arpa di Ferdinando Paër, pubblicato a Parigi verso il 1820, leggiamo che «questo coro è stato improvvisato dal Signor Paer ed eseguito dagli allievi del Signor Massimino» 1. È una delle numerose occasioni in cui abbiamo una testimonianza concreta della diffusione della prassi improvvisativa in ambito musicale tradizionale, anche se questa testimonianza è un poco diversa da quelle che più solitamente si riscontrano a proposito di improvvisazioni alla tastiera o altri strumenti ovvero legate a cantanti o virtuosi di diverso genere. Il testo di questo coro in italiano era dello stesso Paer; la composizione vocale improvvisata era un prodotto didattico destinato agli allievi di Frédéric Massimino, vale a dire l'italiano naturalizzato francese Federico Massimino (1775-1858), professore di canto e di solfeggio, celebre didatta di musica, a capo di una scuola il cui metodo di insegnamento è stato definito da François Lesure 'mutuo' (mutuel) 2. Sappiamo che nella sede parigina di questa 'Institution de Massimino' si organizzavano concerti. Effettivamente, le testimonianze biografiche relative al compositore italiano trasferito a Parigi Paër, ne tramandano l'immagine di musicista abilissimo nell'improvvisazione melodica, oltre che eccellente cantante lui stesso. E d'altronde la stessa prassi del canto di primo Ottocento ha una forte connotazione improvvisata. Questo esempio, inoltre, segnala la stretta congruenza tra l'arte dell'improvvisazione e il mestiere del compositore. Ho voluto iniziare con una testimonianza d'improvvisazione per uso didattico, al di fuori dell'alveo elitario del virtuosismo del tempo e quindi di teatri e accademie ove di preferenza i modelli del virtuosismo improvvisativo si esplicano, per segnalare la straordinaria diffusione della prassi improvvisativa nella vita artistica del primo Ottocento. In Italia in particolare, numerose fonti e testimonianze di differente grado indicano una certa predilezione quasi trasversale in campo culturale per la estemporaneità nelle arti.

Der Text gibt eine Einführung in die Genderforschung innerhalb der Musikpädagogik und richtet dabei den Fokus auf die Populäre Musik. Ziel ist es, die bisherigen Erkenntnisse zu strukturieren und damit eine theoretische Basis für weitere Analysen zu schaffen. Darüber hinaus soll ein Ausblick auf die weitere Erforschung des Themenfelds gegeben werden. Nach einer Darstellung einiger allgemeiner Grundlagen und historischer Entwicklungen der Genderforschung wird die musikpädagogische Fachdiskussion zur Bedeutung von Gender für die Aneignung und Vermittlung Populärer Musik im deutschen Sprachraum seit den 1970er Jahren nachgezeichnet. Im Anschluss daran wird eine Strukturierung des Themenfelds vorgenommen. Es werden vier Ebenen unterschieden, auf denen die Kategorie Gender beim Umgang mit Populärer Musik im musikpädagogischen Kontext wirksam wird: Die Ebene des Gegenstands „Populäre Musik“, die Ebene der Schüler_innen, die Ebene der Lehrer_innen sowie die Ebene der Interaktionen. Abschließend werden anhand eines Pilotprojekts, das sich mit den Geschlechterkonstruktionen in sogenannten Bigbandklassen beschäftigt, Möglichkeiten der weiteren Erforschung aufgezeigt.
(Antrittsvorlesung an der Westfälischen Wilhelms-Universität Münster vom 27.4.2015)

El presente ensayo del compositor Angelo Sturiale, ha sido publicado en el libro colectivo “La belleza múltiple” (Ediciones Bellaterra) coordinado por el catedrático Lluis X. Álvarez, de la Universidad de Oviedo, y Luis Xavier López Farjeat, de la Universidad Panamericana de México.

El volumen es un ejercicio altamente ecléctico en donde varias voces han externado enfoques y puntos de vista muy diversos que, si bien parecen desarticulados, permiten constatar la amplitud de las reflexiones sobre el arte y la estética. El lector se encontrará con ensayos que guardan gran distancia entre sí y que proyectan diversas preocupaciones relacionadas con el abandono de la belleza y la importancia de hacerla renacer, o con la variedad de formas en las que ésta puede entenderse de acuerdo a las distintas formas de expresión y a los diversos entornos culturales. Los ensayos aquí reunidos de Lluís X. Álvarez, Mirian Rodríguez, Luis Feás, Adriana Clavel, Miguel Alfonso Bouhaben, Angelo Sturiale, Cristina Morales, Rubén Figaredo, Thomas Heyd, Mariana Méndez-Gallardo, Shekoufeh Mohammadi, y María Molina, muestran la pluralidad de intereses que existen alrededor de la teoría artística, la historia del arte y la filosofía del arte. A pesar de las distintas visiones que ofrecen cada uno de ellos, pueden verse algunas preocupaciones en común: hacia dónde va el arte, en dónde se encuentra el arte, cómo entender la estética y la belleza, cómo entender el arte y las expresiones artísticas desde distintas culturas.

http://www.ed-bellaterra.com/php/llibresInfo.php?idLlibre=1331

This paper recounts and analyzes a performance of John Zorn's Cobra––a 'game' piece for improvisers––from a first person perspective. I examine the process of rehearsal and performance making reference to relevant literature in music psychology; and I offer some tentative possibilities for how we might understand musical communication in the context of free improvisation. To conclude I consider the pedagogical applications of the piece. While the account offered here is largely anecdotal, it is my hope that this paper may offer some useful insights into the nature of musical improvisation and perhaps inspire more sustained and rigorous inquiries into this fascinating and under-researched area of musical practice.

FREEING MELODY

Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman


                              David S. Bond



For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.

                                PREFACE

This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.

The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.

Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.

It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman  developed from a similar musical tradition.

Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.

I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.









                                                                            A
                      ACKNOWLEDGEMENTS

I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.

I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.

https://theleupoldfoundation.org/product/remes-derek-the-art-of-preluding-deconstructing-and-reconstructing-the-preludes-in-j-s-bachs-well-tempered-clavier-volume-i-ii/

According to J. S. Bach, the fundamental principles of composition are derived from thoroughbass and the keyboard—The Art of Preluding: Deconstructing and Reconstructing the Preludes in J. S. Bach’s Well-Tempered Clavier I & II demonstrates how. Each prelude is furnished with a reductive analysis of its thoroughbass background and voice-leading patterns. Following this deconstruction phase, a simplified figured bassline is presented to aid the reader in reconstructing an original work using Bach’s harmonic framework. To facilitate comparison, all preludes are transposed either to C major (Vol. 1) or A minor (Vol. 2). An extensive preface, which is divided between Vols. 1 and 2, provides the reader with detailed guidance and historical context. Finally, various appendices present C. P. E. Bach’s rule-of-the octave harmonizations and modulations, which played a central role in his understanding of improvisation. This historically oriented, pedagogical, and practical work will thus be of value particularly to teachers, students, and performers interested in eighteenth-century music.

Der Mensch ist das improvisierende ›Tier‹ schlechthin. Denn er kann aus mangelnder Vorbereitung Chancen kreieren, sich Situationen anpassen und mit Flexibilität das Beste daraus machen. Improvisation darf dabei nicht mit Stümperei verwechselt werden.
Der Jazzmusiker Lee Konitz forderte etwa von Mitmusikern und Zuhörern, darauf vorbereitet zu sein, unvorbereitet zu sein. Wer also souverän mit unklaren Situationen umgehen möchte, sollte den Zwang zur Improvisation niemals fürchten: Herausforderungen und Krisen sind ohne diese grundlegende menschliche Fähigkeit nicht zu meistern.

La improvisación ha sido consubstancial a la música de baile en los salones de la Venezuela del siglo XIX. Numerosos documentos nos informan sobre esta práctica, que llega hasta nuestros días a través de sus  géneros más característicos, como son el vals y la danza (hoy merengue). El presente trabajo procura reconstruir a partir de los documentos de la época estas prácticas musicales, particularmente lo concerniente a los patrones de acompañamiento propios de estos géneros. Echando mano de las partituras, manuales, descripciones de contemporáneos, etc., donde se hace patente esta práctica, proponemos una sistematización de los acompañamientos más usuales, de modo que puedan ser utilizados en la actualidad para restaurar  esta música con argumentos históricamente informados.

This article outlines the philosophical and pedagogical underpinnings of a masters degree in Transformative Leadership with a specific focus on the role of creativity and self-creation. It uses the design of the degree as a way of address some of the considerable complexities of the field of leadership, but also the larger planetary and personal challenges facing individuals who are committed to contributing to positive social change.

Jakob Adlung’s recently rediscovered manuscript treatise, ‘Anweisung zum Fantasiren’ (‘Instruction in improvisation’, c.1725–7), proves definitively that some 18th-century musicians understood improvisation modularly in terms of stock voice-leading patterns, or schemas. The manuscript is a compendium containing 28 typical voice-leading patterns that are to be memorized, varied and combined in myriad ways. Adlung’s treatise is thus of particular value, not only because of its numerous musical examples and extensive textual commentary, but because it reveals some of the musical and social expectations of the average central German church organist in the early 18th century. This article offers an introduction to the treatise in the context of Adlung’s biography, with an online appendix containing a critical edition of the treatise and an English translation.

[Lecture recital, presented at the 16th biennial conference on baroque music, Salzburg, Austria, July 2014.]
Johann Mattheson (1681-1764) is regarded as one of the most important writers on music during the late Baroque. He probably is best known for Der Volkommene Cappellmeister, an encyclopedic summation of eighteenth-century musical principles he believed critical for directors of music.  Less well known is Mattheson’s Grosse General-Bass-Schule (1731), a revised version of his Exemplarische Organisten-Probe (1719).  This volume contains forty-eight “test pieces”—twenty-four easy and twenty-four advanced exercises, in each of the major and minor tonalities. 
These test pieces comprise a set of elaborate figured basses designed to provide an organist with practice in keyboard improvisation.  Each figured bass is followed by a detailed explanation of its realization that, once applied, generates a composition similar in style to a fully written work.  As such, these test pieces fall within the partimento tradition of musical instruction (an area that is receiving an increasing amount of research).  Mattheson’s detailed explanations are particularly valuable as they attempt to codify approaches to melodic embellishment, figuration used within harmonic sequences, and techniques of imitation.

El Vademecum musical del IEM es un conjunto de definiciones ordenadas por orden alfabético y trata de ser una herramienta útil al servicio de profesores y alumnos de Conservatorios o centros de enseñanza musical de cualquier nivel, que manejen libros de Metodología IEM o que quieran conocer a fondo aspectos concretos de la teoría musical que sirven de base a nuestro Sistema Pedagógico; aunque seguramente también muchos otros se verán beneficiados de la claridad y sencillez con que se presentan esta gran cantidad de conceptos.

La inmensa mayoría de los conceptos se ilustra con uno o más ejemplos, ya sea en forma de tabla o gráfico explicativo o de ejemplo musical propiamente dicho. Hemos buscado los ejemplos más claros, concretos y de aplicación general posibles. La intención es aclarar y potenciar la definición textual.

El listado de términos incluye definiciones de forma, ritmo, armonía y melodía. No pretende ser un listado exhaustivo, ni abarcar toda la teoría musical.

Nuestra intención, muy por el contrario, es la de incorporar con el tiempo y la experiencia nuevos conceptos y acepciones, además de actualizar el contenido de las ya existentes. Nuestro interés se centra en condensar aquellos conceptos que con más frecuencia son necesarios para comprender los análisis y explicaciones de los libros publicados por Enclave Creativa dentro del sello “Metodología IEM”.

In the exhibition book "Und weg mit den Minuten - Dieter Roth und die Musik" (also available in english) an interdisciplinary dialogue between the art historian and curator Matthias Haldemann (Kunsthaus Zug) and the composer and music researcher Michel Roth (Hochschule für Musik Basel) is dedicated to the music-related works and collaborative projects of Dieter Roth and places them in the context of his complete oeuvre. With the involvement of two curators of further Roth exhibitions - the fluxus specialist Gabriele Knapstein (Nationalgalerie im Hamburger Bahnhof Berlin) and Sven Beckstette (Kunstmuseum Stuttgart) - connections to concrete poetry, the Viennese group, Fluxus and artist music are worked out. A concluding discussion with the improviser Walter Fähndrich examines the history and topicality of Roth's music-making in the context of the collaboration Rarely Heard Music ("Selten gehörte Musik"). Numerous colour illustrations of the works and previously unknown documents illustrate these discussions, supplemented by a chronology according to the latest state of research and a detailed scientific apparatus. A DVD with an excerpt from the video recording of the Abschöpfsymphonie from 1979 (first publication) is enclosed with the exhibition book as an encore.
The hereby uploaded proof reading copy contains some small notes and corrections and differs therefore from the final edition.

The close relationship of Victor Assis Brazil and the jazz is widespread among musicians, students and music lovers in general, especially for his eloquence as an improviser. However, the specific knowledge about the musical procedures which confirms this intimity – that would clarify such proximity - is rare. This study aimed to analyze the improvised solos of Victor Assis Brazil recorded in the album Pedrinho in order to demonstrate the existence of elements that better explain its relation with the improvisation of jazz imprint. We try to outline the articulations of the main musical elements - described by a range of authors as a constant in the study of improvisation - in order to better understand the phraseological construction, the musical poetry of Victor. The choice of this disk is justified for being the musical maturity of the saxophonist, and also because Pedrinho is the last album recorded by him.
Key words: improvisation, musical analisys, harmonic analisys, Victor Assis Brasil (1945-1980), saxophone, popular brazilian music, jazz.

Much has been written on jazz, its explosive success at the beginning of its life journey, and its gradual gain of respectability as it aged – in exchange for a noticeable loss of popularity in the land of its birth. But very few researchers have touched upon the role that American copyright law has played in the development of jazz. This short book investigates the connection between the existing copyright laws, their administration in the U.S., and the historic changes in the way jazz music has been performed and consumed in America. Cross-examination of data coming from musicology, sociology, legal and economic studies points in the direction of legal issues as the primary underlying cause of negative changes that affected jazz. Bad copyright laws led to bad practices of law enforcement, which in turn, promoted bad business practices in relation to jazz. At the end of this chain, after about sixty years passed from jazz’ inception, the general public started losing interest in this art form which has become severely censored as a result of imperfect copyright laws, their overly restrictive administration, as well as the failure of legislative bodies and courts to recognize the special nature of jazz.
The most American form of expression in music, widely popular during the 1920-1950’s, has eventually turned into an esoteric Aesopian art form, meaningful mainly to an expert – ideally, a jazz performer himself.

Objetivos de la tesis                             
Brindar herramientas conceptuales, técnicas y puntos de referencia para enriquecer al compositor y al intérprete, presentando un marco teórico en el complejo terreno intertextual de nuestros días. Considerar la improvisación como eje e instrumento para propiciar el proceso creativo, y como un mecanismo funcionalmente indispensable para favorecer al intérprete en la ejecución musical contemporánea. 
Asimismo indagar en los puntos históricos de confluencia entre música popular y música académica, y en torno del marco constituido, contemplar diferentes formas de plantear la música en la actualidad, su interacción con el público, su alcance y su relación con el mundo globalizado.                                                                                 
Establecer puntos de contacto entre las diversas manifestaciones musicales que habiten y puedan haber sido influencia del material aquí presentado.                                                                                 
La metodología utilizada para relevar datos está basada en la descripción del proceso creativo personal y el relevamiento de datos bibliográficos y fragmentos de entrevistas.

ABSTRACT
This thesis is a research and development of a study guide in latin song, musical experience in a teaching institution, learning strategies, musical language that develops vocal improvisation in the style
Comprises the use of musical resources for understanding forms of bolero, La Guajira, Cuban Son Jarocho point or, Danzón, chachachá are or salsa, Latin jazz, bossa-nova, rumba, guaguancó, afro, etc.., Subjects necessary for its implementation, as the metrical pattern, musical instruments, phrasing, form, prose improvisation born in a moment of action with individual creativity in each performer Latin song.
The intention is to promote and develop the skilled and melodic improvisation, with technical aspects of vocal interpreter of the genre, history, and current source. Contains teaching strategies with melodic resources, scales, chords, harmonic progressions, vocal technique, exercises for learning, a curriculum is made up of six semesters and applied more representative of each genre repertoire.
Making music teachers invitation to institutions of the need for cultural recovery of the Latin song using prose (tenths quatrains) to communicate freely with each vowel performer original story and personality in each vocalist