The aim of the project is to explore how technology and performance can interact in the process of remembering, specifically how performance functions as mnemonic device aided by technology. The Memory Booth draws elements from three memory stimulating devices: the photo booth,the game ‘memory’ and Giulio Camillo’s ‘theatre of memory’. All series are projected on the walls of a separate publicly accessible space in tandem with the original archival videos, forming a constantly expanding exhibition. Each new dance is consequently saved in the computer database. This last performance is not an imitation from an on-screen video, but from (embodied) memory. At the end of the game the user is asked to perform the whole series of movements in one dance and this series is recorded by a camera. Each time a countdown commences and the user will have to perform the movement. When a user enters the Memory booth, he/she is welcomed by a screen that invites him/her to imitate a series of movements. The installation has an interactive input interface, the Booth, and an output exhibition in another, public, space. "The core of the Memory Booth installation revolves around an archive of video registrations of traditional dance forms. This study contributes to a greater knowledge, assessment and mapping of the influential techniques of Joe Henderson’s music and its impact on the current saxophone playing and composition being integrated into original creative practices which may be used as a Pedagogical study and educational tool. Appendix Main Conclusion: This examination has led me to new discoveries in the potentialities as a jazz composer and improviser, having developed from working within the boundaries, structures and influences of various tunes and performances by past masters such as Joe Henderson, who provide knowledge and space to transmute ideas and break new ground. The study is documented as an exegesis in the following format: 1 Introduction 2 Methodology 3 Literature Review 4 Repertoire Analysis 5 Analysis Of My Own Creative Work 6 Comparative Study 7 Conclusion 8 References 9. Original compositions were written, performed and recorded as an audio CD by a jazz ensemble lead by Alfredo Lopes in the harmonic style of Joe Henderson, putting into practice the information learnt from methodologies previously mentioned (practice led research from the creative arts paradigm). Transcription is a credible musicological practice for jazz musicians and it enables them to learn tools and develop vocabulary used in improvisation and the jazz language. A harmonic analysis of transcriptions from music audio files of influential improvisational saxophone solos by the selected artist was written. 2) Theoretical component: a review of literature on Joe Henderson’s scores and music, an analysis on the influence of Joe Henderson, and an evaluation of his influence on my development as a musician/composer and saxophonist. Research methods: 1) Creative component: transcription and analysis of Joe Henderson’s work, composition of original repertoire and a documented CD recording of a jazz ensemble performing the original compositions. The harmonic explorations of Joe Henderson: A study by a professional jazz musician of his contribution to the modern jazz composition and tenor saxophone sound Alfredo Lopes Abstract This is a creative practice led project and exegesis seeking to demonstrate why Joe Henderson is widely considered in the international jazz community to be one of the most meaningful players and composers to emerge from the 1960s, inspiring current players and composers in the field of modern jazz composition and tenor saxophone improvisation by evaluating the influence of his compositions, performance and improvisation techniques on the development of the current generation of jazz saxophonists.
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