Data thus consisted of verbal as well as musical statements, and were submitted to a qualititative and interpretive analysis through the use of the computer soft-ware Hyperresearch. Both occasions were DV documented and MD recorded. The data collection took place at two occasions: (i) a semi-structured, in-depth interview at the organ, and (ii) a public musical performance, followed by a concluding interview.
HYPERRESEARCH LOGO PROFESSIONAL
Five male and five female professional organ improvisers from four countries participated in the study. The framework of activity theory is applied in order to study organ improvisation as forming part of dynamic cultural-historical activity systems, where music-making and learning develop, transform and expand.įor methodological purposes, the participating organists’ production and use of improvised music in professional practice and performance are seen as discursive practices. As a research object, the art of organ improvisation is defined as a source for exploring learning and creative processes in self-directed learning and artistic performance. The aim of the study is to explore organists’ descriptions, constructions and definitions of improvisation in words and music, with an interest in the interaction between receptivity, creativity and change. This thesis focuses on contemporary organ improvisation in Western European musical culture.
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