Concluding remarks on the Creative path Sample Clauses

Concluding remarks on the Creative path. In this chapter, I focused on how research on metric improvisation could influence artistic work in all its aspects, from performance of metric improvisation, composition, and dissemination of the results of the research. Firstly, through the practice of improvisations I had transcribed and analysed, I tried to embody the rhythmic tools, melodic movements, structures, and models of all the artists in Chapter 1 in my own playing. Then, after discerning the various rhythmic tools, I practiced and experimented with them by creating metric improvisations in my performances. The example of Xxxxx Xxxx Xxxxxxx, and the three different occasions of performance, gave me the opportunity to experiment and contemplate, through performance, the personal use of the different tools and models of metric improvisation suggested by the artists in Chapter1. The example of Daracık sokakları suggests ways of approaching usulü taksim and metric improvisation. This process suggests ways that research can affect and develop the understanding of metric improvisation, as shown through performance. Continuing, I focused on the way the results of the research could be made useful to other performing artists. I presented the process of thought as well as the actual workshops organised during the trajectory. I claim, as shown through the results of the workshops, that an emphasis on rhythmic development and practice of rhythmic tools, as well as the introduction of certain ideas (awareness, flow, active listening) are invaluable activities in the process of learning how to improvise – metrically and in general – as well as in the act of performance. And even if we cannot practice improvisation as such, there is a wealth of rhythmic, melodic, structural, and compositional tools that can provide the improvising artist with a database of material, ready to be accessed at the actual moment of performance.