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Is Improvisation Present?

Michael Gallope.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online January 2015 .

Article. Subjects: Music; Philosophy of Music; Music Theory and Analysis. 8147 words.

During the summer of 1997, Ornette Coleman, pianist Joachim Kühn, and philosopher Jacques Derrida performed together at the La Villette festival outside Paris. This chapter revisits this...

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Lots Will Vary in the Available City

David P. Brown.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online April 2015 .

Article. Subjects: Music; Philosophy of Music. 8622 words.

Michel de Certeau has described our movement about the city as improvisational—as an interaction with a spatial order that not only activates that order’s ensemble of possibilities but...

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Musical Improvisation

A. J. Racy.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online January 2015 .

Article. Subjects: Music; Philosophy of Music. 9516 words.

This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation...

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Performing Gender, Race, and Power in Improv Comedy

Amy Seham.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online January 2015 .

Article. Subjects: Music; Philosophy of Music. 5135 words.

As taught by Viola Spolin, Keith Johnstone, and others, improv is a mode of playing that depends on group consensus, through such concepts as “agreement” and “groupmind,” as a basis for the...

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Role-Play, Improvisation, and Emergent Authorship

Celia Pearce.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 11731 words.

This essay explores the notion of role-playing as a form of “emergent authorship,” a bottom-up, procedural process leading to co-created, unexpected narrative outcomes. The essay begins...

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The Salmon of Wisdom

Alexandre Pierrepont.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online November 2015 .

Article. Subjects: Music; Philosophy of Music; Music Theory and Analysis. 7606 words.

This chapter scrutinizes the universe of representations of creative musicians, especially in the combinatorial and transformative dynamics of the jazzistic field. The poetics of...

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She Stuttered

Sher Doruff.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online April 2015 .

Article. Subjects: Music; Philosophy of Music. 8696 words.

This article traces the lived occurrence of a spontaneous, improvisatory event. Using choreographer Jeanine Durning’s performance of inging as both a touchstone and a springboard, the...

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Shifting Cultivation as Improvisation

Paul Richards.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 7595 words.

Shifting cultivation is a type of farming without fixed boundaries. It obeys an ecological logic but requires constant improvisation and adaptation to fluid circumstances. The character of...

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Speaking of the I-Word

Leo Treitler.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 11990 words.

The chapter focuses on modern uses of “improvisation,” its derivatives (I-words), and its constitution with “composition” of a duality of opposites that—like many dualities—works as a...

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Spiritual Exercises, Improvisation, and Moral Perfectionism

Arnold Davidson.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online March 2016 .

Article. Subjects: Music; Philosophy of Music. 6381 words.

Abstract: Beginning with Pierre Hadot’s idea of spiritual exercises and Stanley Cavell’s conception of moral perfectionism, this essay argues that improvisation can be understood as a...

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