Assignment First



另一个活动是“最小结构和最大自治”。爵士乐是一个过程,其中包括一个活动的即兴创作,以松散的方式组织起来。从巴斯坦时代起,音乐家们就对即兴创作和重复线条结构有了很好的了解。有各种各样的指导结构是不可协商的,非人的(Peretti, 1994)。音乐家不需要以这种方式创建协议。


Another practice is “Leap in and Take action: Learning through the Full-Bodied Engagement and Ongoing Experimentation”. This includes the process of research on the engagement in the process of work which has shown when the people are also engaged with the organization. In this practice, the Jazz players’ leaps in the action which includes full commitment in spite of the possibility related to the embarrassment. In addition to this, the process of engagement is something which is extended to the physical space.
Another activity is the “Minimal Structure and Maximum Autonomy”. Jazz is the process which includes the improvisation of an activity which has been structured in a loose manner. Right from the times of Bastein, musicians have a good knowledge about the improvisation and the repetition of the line structure. There are various guiding structures which are non-negotiable, impersonals (Peretti, 1994). The musicians do not need to create agreements in this manner.
Another practice is the “Errors as Source of Learning”. The Jazz musicians include a large number of moments which are not expected. Some of the modes are important sources of learning. There are a number of musical landscapes which are required to be integrated.

留学论文代写 :爵士音乐过去和现在的演奏实践


另一种练习方法是在独奏和支撑之间交替进行。这是在Jazz中使用的最广泛但又被忽视的结构之一,在轮流使用时非常有用。在这种实践中,需要一种固定的对称性和互动性。为了提供有节奏的背景,每个玩家都有机会开发自己的数据。这种对称性是通过确保玩家轮流或互相竞争来实现的。有乐谱的段落通常先于独奏者的即兴创作,并对其加以保留和润色。因此,背景伴奏的工作为独奏者创造条件,确保和组织和弦的每一个过程(Washburne, 1997)。除此之外,还练习引音和其他有节奏的重音。重要的是要确保一个人必须放弃他或她的精湛技艺,并确保彼此优秀。爵士音乐家也需要以最好的方式聆听,并预测彼此未来的方向。在基于这种实践的基础上给出性能时,立即做出决策也很重要。除此之外,演奏者还能超越演奏者当前的视野,从不同的方向去激发独奏者,那里有和弦的延伸和重音。

Another common practice of Jazz music is the process of hanging out and learning the code. It is important to believe in the members. The process of learning is important as it important to listen to the recordings. The musicians need to listen the recording of great kinds of soloists, memorization of their solo performances, play a large number of tunes in different kinds of tempos. In addition to this, they help in playing different kinds of tunes at different tempos. There is a need for the development of a special fraternity which leads to the development of the jazz musicians. This provides them different kinds of experiences. The Jazz people knew that the process of learning depends on the relationship with kinds of members who are the part of Jazz community. Creativity and innovation are the important terms which define the experience and define wisdom.
Another practice is the method which includes Alternating between the Soloing and Supporting. This is one of the most widespread but overlooked structures which are used in Jazz and are useful for taking turns. In this kind of practice, there is a fixed kind of symmetry and mutuality which is required. In order to provide rhythmic background, each player gets a change to develop their own data. This kind of symmetry is promised by ensuring that the players take different turns or compete one another. The scored passage generally precedes the improvisation of the soloist and sustains and embellishes the same. Thus, it is the job of the background accompaniment which creates the conditions for the soloist and ensures and organize each and every course of the chord (Washburne, 1997). In addition to this, leading tones and other rhythmic accents are also practised. It is important to ensure that one has to surrender his or her virtuosity and to ensure that each other excels. The Jazz musicians also need to listen in the best manner and anticipate the future directions of one another. It is also important to make instantaneous decisions while giving the performance on the basis of this practice. In addition to this, the performers also observe beyond the current vision of the player and provoke the soloist in different directions, where there are chord extensions and accents.