https://serendip.peckels.com/zats/30method/ Sources The title of this research refers to randomness and surprise. My MA research opens by referencing an article1 on the essence of musical surprises. Musical surprises take on many forms: rhythmic, harmonic, melodic, timbral, and so on. Musical surprises are generally considered to fall under the category of perceptual surprises, characterized2 as frustrating prior expectations. In the field of cognitive and behavioral science, research has been undertaken into the potential of surprise to stimulate learning: Hugo en-us Sat, 19 Feb 2022 09:20:29 +0100 https://serendip.peckels.com/zats/30method/impromindmap/ Sat, 19 Feb 2022 09:20:29 +0100 https://serendip.peckels.com/zats/30method/impromindmap/ Teaching improvisation is too large a subject and not the focus of this research, so I’ll only refer to my collection of documents and methods on how to teach improvisation and post the synthesis documents here. Methods I’ll reference include: Sikora, F. (2017). Neue Jazz-Harmonielehre: verstehen, hören, spielen; von der Theorie zur Improvisation. Schott Music. Crook, H. (2001). How to Improvise. Advance Music. Siron, J. (2004). La partition intérieure : jazz, musiques improvisées. Outre Mesure. Levine, M. (1995). The Jazz Theory Book. Sher Music. Goldsby, J. (2002). The Jazz Bass Book: Technique and Tradition. Backbeat Books. Goldsby, J. (2009). Bowing Techniques for the Improvising Bassist. Jamey Aebersold Jazz. (Goldsby, J. Bass Player Magazine articles) van de Geyn, H. (2007). Comprehensive Bass Method For Jazz Players (Book 1 & 2). Brown, R., & others. (1999). Ray Brown’s Bass Method. Hal Leonard Corporation. Sabin, R. (2020). Progressive Jazz Double Bass Repertoire. Balse, H. (2005). L’évolution du rôle de la contrebasse dans le jazz jusqu’en 1960. De Jimmy Blanton à Scott LaFaro. Université Paris 4 - La Sorbonne. Sher, C. (1979). The improviser’s bass method: For electric and acoustic bass. Sher Music. Sher, C., & Johnson, M. (1993). Concepts For Bass Soloing. Sher Music Company. Galper, H. (2005). Forward Motion. Sher Music. Ligon, B. (1996). Connecting chords with linear harmony. Hal Leonard Corporation. Levine, M. (1989). The Jazz Piano Book. Sher Music. Pratt, G., Henson, M., & Cargill, S. (1998). Aural awareness: Principles and practice. Oxford University Press. (relevant topics for improvisation) Overview The following is a plan for teaching improvisation that I designed for a final assignment in Martine Bertemes’ pedagogy course at the Luxembourg Conservatory: https://serendip.peckels.com/zats/30method/learningapps/ Sat, 19 Feb 2022 09:20:29 +0100 https://serendip.peckels.com/zats/30method/learningapps/ In this selection of music apps that I use regularly, only a few offer random functions. Those are most often found in creative rhythm apps and not in the ones designed for practicing. Some melody and harmony training music apps rely on randomly generated exercises to train pitch or chord hearing (e.g., EarMaster). Ear Training Apps EarMaster It has random flashcard-like functions for training intervals, scales, chords, etc.