References
Bartleet, B. (2009). Behind the baton: Exploring autoethnographic writing in a musical context. Journal of Contemporary Ethnography, 38 (6), 713–733.
Berlin, I. (1969). Four essays on liberty. Oxford, UK: Oxford University Press.
Bolger, N., Davis, A., & Rafaeli, E. (2003). Diary methods: Capturing life as it is lived. Annual Review of Psychology, 54(1), 579-616.
Boothroyd, M. (2010). Modal jazz and Miles Davis: George Russell’s influence and the melodic inspiration behind modal jazz. Nota Bene: Canadian Undergraduate Journal of Musicology. 3 (1), 47.
Borgdorff, H. (2011). The production of knowledge in artistic research. In Biggs, M. & Karlsson, H. (Eds.), The routledge companion to research in the arts (pp 44–63). New York, NY: Taylor & Francis.
Carl, R. (1990). Six case studies in new American music: A postmodern portrait gallery. College Music Symposium. 30 (1), 45–63.
Claxton, G. (1998). Hare brain, tortoise mind: How intelligence increases when you think less. London, UK: Forth Estate Ltd.
Cobussen, M. (2014). Some notes on artistic research [Video file]. Retrieved from https://www.youtube.com/watch?v=vSntkLlncLw
Collier, G. (2009). The jazz composer: Moving music off the paper. London, UK: Northway Publications.
Cope, D. (1997). Techniques of the contemporary composer. New York, NY: Schirmer Books.
Davis, M. & Troupe, Q. (1989). Miles: The autobiography. New York, NY: Simon & Schuster.
De Bono, E. (1977). Lateral Thinking. London, UK: Penguin Books Ltd.
Dean, R. (1989). Creative improvisation. Milton Keynes, UK: Open University Press.
Etherington, K. (2004). Becoming a reflexive researcher: Using our selves in research. London, UK: Jessica Kingsley Publishers.
Giddens, G. & DeVeaux, S. (2009). Jazz. New York, NY: W.W. Norton & Company, Inc.
Goldstein, G. (1993). Jazz composer’s companion. Mainz, DEU: Advance Music.
Guster, K. (2012). Talking the intangible: Contemporary classical pianists on elusive aspects of music-making. Brisbane, Australia: Griffith University.
Hancock, H. & Dickey, L. (2014). Possibilities. New York, NY: Viking Press.
Haywood, N.T. (2014). Complexity through interaction: An investigation into the spontaneous development of collective musical ideas from simple thematic materials. Hobart, TAS: University of Tasmania.
Kahn, A. (2001). Kind of blue: The making of the Miles Davis masterpiece. London: Granta Books.
Kemmis, S. & Wilkinson, M. (1998). Participatory action research and the study of practice. In Atweh, B. & Kemmis, S. & Weeks, P. (Eds.), Action research in practice: Partnership for social justice (pp 21–36). London, UK: Routledge Publications.
Marsalis, B. (2012). Legendary saxophonist Branford Marsalis in Studio Q [Video file]. Retrieved from https://www.youtube.com/watch?v=tTfDL0ju2tA&feature=youtu.be
Meadows, E. (2003). Bebop to cool: Context, ideology, and musical identity. Westport, CT: Praeger Publishers.
Milkowski, B. (2015, August). True revolutionary. Downbeat, 82 (8), 8.
Mill, J.S. (2003). On liberty. New York, NY: Dover Publications Inc.
Monson, I. (2009). Saying something: Jazz improvisation and interaction. Chicago, IL: University of Chicago Press
Murphy, J. (1990). Jazz improvisation: The joy of influence. The Black Perspective in Music, 18 (1/2), 7-19.
Murphy, T.S. (2004). The other’s language: Jaques Derrida interviews Ornette Coleman, 23 June 1997. Trans. Timothy S. Murphy. Genre: Forms of Discourse and Culture, 37 (2), 319–328.
Peterson, L. (2006). Music and the creative spirit. Langham, Maryland: Rowman & Littlefield Publishing Group.
Primack, B. (1992, February). Remembering Miles. JazzTimes, 22 (1), 38.
Potter, K. (2000). Four musical minimalists. Cambridge, UK: Cambridge University Press.
Russell, G. (2001). Lydian chromatic concept of tonal organization. Brookline, MA: Concept Publishing.
Sanchez-Jankowski, M. (2002). Representation, responsibility and reliability in participant-observation. In May, T. (Ed.), Qualitative research in action (pp 144–160). London, UK: Sage Publications.
Schoenberg, A. (1995). The musical idea and the logic, technique, and art of its presentation. New York, NY: Columbia University Press.
Simon, H. (1996). The sciences of the artificial. Cambridge, MA: MIT Press.
Small, C. (1998). Musicking: The meanings of performing and listening. NH, USA: Wesleyan University Press.
Thomas, J.C. (1976). Chasin’ the Trane: The music and mystique of John Coltrane. London:
Elm Tree Books Ltd.
Vernon, P. E. (1989). The nature-nurture problem in creativity. In Glover, J. A., Ronning, R. R., & Reynolds, C. (Eds.). Handbook of creativity (pp. 93-110). Berlin, Germany: Springer Publishing.
Waters, K. (2010). Giant steps and the ic4 legacy. Integral, 24, 135–162.
Waters, K. (2011). The studio recordings of the Miles Davis Quintet, 1965-68. New York, NY: Oxford University Press.
Werner, K. (2013). Jazz improvisation lesson: Impressing versus connecting with an audience [Video file]. Retrieved from https://www.youtube.com/watch?v=DAiOb5kS6Xs&list=PLdFHUxYtn07hfSoOsqjB5WkuJ3bg-y86P&index=30
Zielinski, S. (2011). Thinking about art after the media: Research as practised culture of experiment. In Biggs, M. & Karlsson, H. (Eds.), The routledge companion to research in the arts (pp 293-312). New York, NY: Taylor & Francis.
Discography
Adams, J. (1987). The chairman dances (CD). New York, NY: Nonesuch Records.
Coleman, O. (1959). The shape of jazz to come (CD). New York, NY: Atlantic Records.
Coltrane, J. (1959). Giant steps (CD). New York, NY: Atlantic Records.
Davis, M. (1959). Kind of blue (CD). New York, NY: Columbia Records.
Davis, M. (1965). The complete live at the Plugged Nickel 1965 (CD). New York, NY: Columbia Records.
Hancock, H. (1970). Mwandishi (CD). New York, NY: Warner Bros. Records.
Parker, C. (1949). Bird and Diz (CD). Tokyo, Japan: Universal Records.
Shorter, W. (2002). Footprints live (CD). New York, NY: Verve Records.
Shorter, W. (2005). Beyond the sound barrier (CD). New York, NY: Verve Records.
Shorter, W. (2013). Without a net (CD). New York, NY: Blue Note Records.
Berlin, I. (1969). Four essays on liberty. Oxford, UK: Oxford University Press.
Bolger, N., Davis, A., & Rafaeli, E. (2003). Diary methods: Capturing life as it is lived. Annual Review of Psychology, 54(1), 579-616.
Boothroyd, M. (2010). Modal jazz and Miles Davis: George Russell’s influence and the melodic inspiration behind modal jazz. Nota Bene: Canadian Undergraduate Journal of Musicology. 3 (1), 47.
Borgdorff, H. (2011). The production of knowledge in artistic research. In Biggs, M. & Karlsson, H. (Eds.), The routledge companion to research in the arts (pp 44–63). New York, NY: Taylor & Francis.
Carl, R. (1990). Six case studies in new American music: A postmodern portrait gallery. College Music Symposium. 30 (1), 45–63.
Claxton, G. (1998). Hare brain, tortoise mind: How intelligence increases when you think less. London, UK: Forth Estate Ltd.
Cobussen, M. (2014). Some notes on artistic research [Video file]. Retrieved from https://www.youtube.com/watch?v=vSntkLlncLw
Collier, G. (2009). The jazz composer: Moving music off the paper. London, UK: Northway Publications.
Cope, D. (1997). Techniques of the contemporary composer. New York, NY: Schirmer Books.
Davis, M. & Troupe, Q. (1989). Miles: The autobiography. New York, NY: Simon & Schuster.
De Bono, E. (1977). Lateral Thinking. London, UK: Penguin Books Ltd.
Dean, R. (1989). Creative improvisation. Milton Keynes, UK: Open University Press.
Etherington, K. (2004). Becoming a reflexive researcher: Using our selves in research. London, UK: Jessica Kingsley Publishers.
Giddens, G. & DeVeaux, S. (2009). Jazz. New York, NY: W.W. Norton & Company, Inc.
Goldstein, G. (1993). Jazz composer’s companion. Mainz, DEU: Advance Music.
Guster, K. (2012). Talking the intangible: Contemporary classical pianists on elusive aspects of music-making. Brisbane, Australia: Griffith University.
Hancock, H. & Dickey, L. (2014). Possibilities. New York, NY: Viking Press.
Haywood, N.T. (2014). Complexity through interaction: An investigation into the spontaneous development of collective musical ideas from simple thematic materials. Hobart, TAS: University of Tasmania.
Kahn, A. (2001). Kind of blue: The making of the Miles Davis masterpiece. London: Granta Books.
Kemmis, S. & Wilkinson, M. (1998). Participatory action research and the study of practice. In Atweh, B. & Kemmis, S. & Weeks, P. (Eds.), Action research in practice: Partnership for social justice (pp 21–36). London, UK: Routledge Publications.
Marsalis, B. (2012). Legendary saxophonist Branford Marsalis in Studio Q [Video file]. Retrieved from https://www.youtube.com/watch?v=tTfDL0ju2tA&feature=youtu.be
Meadows, E. (2003). Bebop to cool: Context, ideology, and musical identity. Westport, CT: Praeger Publishers.
Milkowski, B. (2015, August). True revolutionary. Downbeat, 82 (8), 8.
Mill, J.S. (2003). On liberty. New York, NY: Dover Publications Inc.
Monson, I. (2009). Saying something: Jazz improvisation and interaction. Chicago, IL: University of Chicago Press
Murphy, J. (1990). Jazz improvisation: The joy of influence. The Black Perspective in Music, 18 (1/2), 7-19.
Murphy, T.S. (2004). The other’s language: Jaques Derrida interviews Ornette Coleman, 23 June 1997. Trans. Timothy S. Murphy. Genre: Forms of Discourse and Culture, 37 (2), 319–328.
Peterson, L. (2006). Music and the creative spirit. Langham, Maryland: Rowman & Littlefield Publishing Group.
Primack, B. (1992, February). Remembering Miles. JazzTimes, 22 (1), 38.
Potter, K. (2000). Four musical minimalists. Cambridge, UK: Cambridge University Press.
Russell, G. (2001). Lydian chromatic concept of tonal organization. Brookline, MA: Concept Publishing.
Sanchez-Jankowski, M. (2002). Representation, responsibility and reliability in participant-observation. In May, T. (Ed.), Qualitative research in action (pp 144–160). London, UK: Sage Publications.
Schoenberg, A. (1995). The musical idea and the logic, technique, and art of its presentation. New York, NY: Columbia University Press.
Simon, H. (1996). The sciences of the artificial. Cambridge, MA: MIT Press.
Small, C. (1998). Musicking: The meanings of performing and listening. NH, USA: Wesleyan University Press.
Thomas, J.C. (1976). Chasin’ the Trane: The music and mystique of John Coltrane. London:
Elm Tree Books Ltd.
Vernon, P. E. (1989). The nature-nurture problem in creativity. In Glover, J. A., Ronning, R. R., & Reynolds, C. (Eds.). Handbook of creativity (pp. 93-110). Berlin, Germany: Springer Publishing.
Waters, K. (2010). Giant steps and the ic4 legacy. Integral, 24, 135–162.
Waters, K. (2011). The studio recordings of the Miles Davis Quintet, 1965-68. New York, NY: Oxford University Press.
Werner, K. (2013). Jazz improvisation lesson: Impressing versus connecting with an audience [Video file]. Retrieved from https://www.youtube.com/watch?v=DAiOb5kS6Xs&list=PLdFHUxYtn07hfSoOsqjB5WkuJ3bg-y86P&index=30
Zielinski, S. (2011). Thinking about art after the media: Research as practised culture of experiment. In Biggs, M. & Karlsson, H. (Eds.), The routledge companion to research in the arts (pp 293-312). New York, NY: Taylor & Francis.
Discography
Adams, J. (1987). The chairman dances (CD). New York, NY: Nonesuch Records.
Coleman, O. (1959). The shape of jazz to come (CD). New York, NY: Atlantic Records.
Coltrane, J. (1959). Giant steps (CD). New York, NY: Atlantic Records.
Davis, M. (1959). Kind of blue (CD). New York, NY: Columbia Records.
Davis, M. (1965). The complete live at the Plugged Nickel 1965 (CD). New York, NY: Columbia Records.
Hancock, H. (1970). Mwandishi (CD). New York, NY: Warner Bros. Records.
Parker, C. (1949). Bird and Diz (CD). Tokyo, Japan: Universal Records.
Shorter, W. (2002). Footprints live (CD). New York, NY: Verve Records.
Shorter, W. (2005). Beyond the sound barrier (CD). New York, NY: Verve Records.
Shorter, W. (2013). Without a net (CD). New York, NY: Blue Note Records.
