- The act or art of improvising.
- Something improvised, especially a musical passage or a dramatic skit.
improvisationally im·prov'i·sa'tion·al·ly adv.
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noun
The creation of a musical work, or the final form of one, as it is being performed. It may involve the work's immediate composition by its performers, the elaboration or adjustment of detail in an existing work, or anything in between.
A number of forms of improvisation are familiar in Western art music. In early ecclesiastical music, singers were taught how to add another line to a liturgical chant while it was being performed; such techniques probably had a place in the development of Organum, and early examples of written-out organum, discant or motets show signs of improvisational origins. Improvisatory techniques were similarly used in the Fauxbourdon style of the early 15th century. Such techniques continued to be used in the 16th, when singers improvised over a cantus firmus in long notes and even improvised in imitative counterpoint.
Other kinds of improvisation in the Renaissance and Baroque periods include Diminution, where the notes of a melody are broken down into a larger number of shorter ones, and Division, where a player (usually on the viol) improvises in accordance with a given harmonic pattern. Particularly important during the Baroque period was the tradition of improvisation of the Continuo player, whose task was to provide, usually on a keyboard instrument or a plucked one, the required harmonic background (to which clues might be provided by figures in the bass part). Another form of improvisation in the Baroque period was the filling out of a given chord-sequence by figuration, as in the French harpsichord tradition of the Prélude non mesuré or in passages left not fully realized in works such as Corelli's violin solos.
Ornamentation also represents a form of improvisation; here the player or singer embellishes a given line, often quite freely, to enhance its expression and to show his or her inventiveness and brilliance. The tradition of added ornamentation, important in repeat sections of operatic arias, in Italian adagio movements and in passages intentionally left in a skeletal state by the composer, persisted throughout the 18th century and well into the 19th, when it retained an important place in Italian opera in particular. It had a more important position in music for a soloist than in chamber music (from the Classical period onwards) or orchestral music, although it was practised extensively in these too.
A special case of improvisation is the Cadenza : a point, usually close to the end of the first movement of a solo concerto, or near the end of a vocal aria, where the composer indicated with a fermata sign that something was to be added - either a simple floruit or, from Mozart's time onwards, a more elaborate passage which might involve the working-out of themes already heard.
The idea of executing an improvisation in a fixed musical form has always held attractions. Bach and Handel were famous for their improvised fugues, Mozart and Beethoven for their improvised variations. The tradition of organ improvisation, usually fugal in character, floruited particularly in the French organ school of the late 19th century and the early 20th.
The idea of improvisation as a return to a more spontaneous form of music-making, in which different members of an ensemble react to what other members are playing, has been encouraged by some composers in the 20th century, particularly in the field of Aleatory composition.
Outside Western art music, improvisation has an important place in jazz (mainly where individual performers improvise within fixed harmonic patterns) and in many non-Western musical systems. It is particularly central to Indian classical music, in which a sitar player, for example, may improvise within particular rhythmic constraints on a Raga.
The term ‘extemporisation’ is used more or less interchangeably with improvisation.
For more information on improvisation, visit Britannica.com.
Improvisation is the practice of acting and reacting, of making and creating, in the moment and in response to the stimulus of one's immediate environment. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act. This invention cycle occurs most effectively when the practitioner has a thorough intuitive or technical understanding of the necessary skills and concerns within the improvised domain.
The skills of improvisation can apply to many different abilities or forms of communication and expression across all
artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, music, cooking, presenting a speech, sales, personal or romantic relationships,
Philosophically, improvisation often focuses on bringing one's personal awareness "into the moment," and on developing a profound understanding for the action one is doing. This fusion of "awareness" and "understanding" brings the practitioner to the point where he or she can act with a range of options that best fit the situation, even if he or she has never experienced a similar situation. The study of the skills and techniques of improvisation can strongly influence one's competence in business, personal life, and/or in the arts[citation needed].
The mental and emotional states needed to practice the art of improvisation are very similar to the practice taught in the religious and philosophical art of Zen, and many of the same concepts are used in both practices[citation needed]. Although it is not necessary for the study and practice of either improvisation or Zen, the study of one often gives new insight into the practice of the other[citation needed]. Keith Johnstone, a teacher of improvisational theatre, often relates the two when teaching about improv[citation needed].
Techniques of improvisation are widely trained in the entertainment arts; for example, music, theatre and dance.
Improv is often used as the noun form of "improvisation." ("Improv" is not currently found in many dictionaries or spell checkers.)
To "extemporize" or "ad lib" is basically the same as improvising. Colloquial terms such as "let's play it by ear," "take it as it comes," and "make it up as we go along" are all used to describe "improvisation."
Improvisation is an important aspect of music in general. Musical improvisers often understand the idiom of one or more musical styles—e.g. blues, rock, folk, jazz—and work within the idiom to express ideas with creativity and originality. Improvisation can take place as a solo performance, or interdependently in ensemble with other players. When done well, it often elicits gratifying emotional responses from the audience. Very few musicians have ever dared to offer fully improvised concerts such as the famous improvised piano recitals by classical composers/pianists like Franz Liszt or modern pianists such as Alicia Techintin and Eric Berry. The origins of Liszt's improvisation in an earlier tradition of playing variations on a theme were mastered and epitomized by Mozart and Beethoven. However, some have managed some very successful attempts similar to these precedents, one of the most successful of these is Keith Jarrett. He has performed many completely improvised concerts that have captivated audiences all over the world. A few pianists have given modern recitals of improvisation in the baroque style, which may be less intimidating because of its stricter development and range of modulation and yet, on the other hand, more daunting because of its polyphony. There have also been a few other exceptional improvised solo piano concerts in Stuttgart, Southern Germany in the 1990s.
Singing improvisation is an ancient art form. It is a mixture of musical improvisation and improvisational theater. A singer makes up the words and melody to a song at the same time the musicians are making up the music to the song. Additionally, aspects of dance, comedy and showmanship are all part of the singing improviser's repertoire.
In the Wales of centuries ago, there was an annual competition for poets and musicians—a sort of Olympics or Super Bowl for the Welsh culture—that featured improvised singing. It was sung in the style of music called a penillion, which is defined as “Welsh songs, often improvised, and sung to a harp accompaniment.” John Parry, a distinguished harp player (1709-1782), describes this art: “(...) The singer is obliged to follow the harper, who may change the tune, or perform variations, ad libitum, whilst the vocalist must keep time, and end precisely with the strain…” See article: Eisteddfod
Beginning in the late 1800s, thousands of years of folk singing and popular music were changed forever: This happened because of the printing of popular music and the impact of the record player. Prior to the record player, popular music, "music of the people," was largely improvised. It was extremely common for people who sang songs to change the lyrics whenever they sang them. They would change parts of the song to adapt it to whatever was going on at the moment or to play to the next audience they faced. Since people mostly learned songs by hearing them and remembering them, the “improvising” of lyrics and melody was quite common amongst the populace.
Dance improvisation as a choreographic tool: Improvisation is used as a choreographic tool in dance composition. Experimenting with the concepts of shape, space, time, and energy while moving without inhibition or cognitive thinking can create unique and innovative movement designs, spatial configuration, dynamics, and unpredictable rhythms. Improvisation without inhibition allows the choreographer to connect to their deepest creative self, which in turn clears the way for pure invention.
Contact improvisation: a form developed 30 years ago that is now practiced around the world. Contact improvisation originated from the movement studies of Steve Paxton in the 1970s and developed through the continued exploration of the Judson Dance Theater. It is a dance form based on sharing weight, partnering, playing with weight and unpredictable outcomes.
The director Mike Leigh uses lengthy improvisations developed over a period of weeks to build characters and storylines for his films. He starts with some sketch ideas of how he thinks things might develop but does not reveal all his intentions with the cast who discover their fate and act out their responses as their destinies are gradually revealed, including significant aspects of their lives which will not subsequently be shown onscreen. The final filming draws on dialogue and actions that have been recorded during the improvisation period.
See main article - Improvisational theatre
Improvisational comedy is a common art performed throughout the world and throughout history.
Some of the more famous North American comic improv groups are the Upright Citizens Brigade out of New York City, the Groundlings out of Los Angeles, The Second City out of Chicago, ComedySportz out of Milwaukee and Theatresports out of Calgary, Canada. Extemporizing on the methods of pioneers such as Viola Spolin, Paul Sills, Del Close, and Keith Johnstone.
Traditional epic poetry included improvisation moments where the reciter flattered the audience (specially the authorities) or to substitute a forgotten passage. There are also societies that value improvised poetry as a genre, often as a debate or "poetic joust", where improvisators compete for public approval. Some of these impromptu poems are later recorded in paper or transmitted orally.
Some forms of improvised poetry:
Usually wit is as valued as conformity to poetical form. Some of these forms also include humour.
In the 1990s, a TV show called Whose Line Is It Anyway? popularized shortform comedic improvisation. The original version was British, but it was later revived and popularized in the United States with Drew Carey as a host. More recently, television shows such as HBO's Curb Your Enthusiasm (starring Seinfeld co-creator Larry David) and Bravo series Significant Others have used improvisation to create longer-form programs with more dramatic flavor. Another improvisation based show is i's "World Cup Comedy." In Canada, the Global Television soap opera Train 48, based on the Australian series Going Home, uses a form of structured improvisation, in which actors improvise dialog from written plot outlines.
Even more recently, Australia's Thank God You're Here is a gameshow where celebrities are put into scenes they know nothing about and have to improvise.
Role-playing games often involve a casual form of improvisational acting; a player's character may be pre-defined, with game statistics and a history, but the character's response to game events and to other players is improvised. Some players are more interested in the depth of the "acting" than others, while others enjoy elaborate plots, emotional investment in characters, and intense or witty repartee. Some earlier role-playing games emphasise combat and game mechanics over role-playing; however, modern storytelling games are often more plot-driven, and Live action role-playing games are often more acting-focused.
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Dansk (Danish)
n. - improvisation
Nederlands (Dutch)
improvisatie
Français (French)
n. - improvisation
Deutsch (German)
n. - Improvisation, Improvisieren
Ελληνική (Greek)
n. - αυτοσχεδιασμός
Italiano (Italian)
improvvisazione
Português (Portuguese)
n. - improvisação (f)
Русский (Russian)
импровизация
Español (Spanish)
n. - improvisación
Svenska (Swedish)
n. - improvisation (äv. mus.)
中文(简体) (Chinese (Simplified))
即席创作
中文(繁體) (Chinese (Traditional))
n. - 即席創作
한국어 (Korean)
n. - 즉석에서 하기, 즉흥 연주
日本語 (Japanese)
n. - 即席にやること, 即興, 即席に作ったもの, 即興曲
العربيه (Arabic)
(الاسم) ارتجال, شيء مرتجل
עברית (Hebrew)
n. - אלתור, אימפרוביזציה
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