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Aesthetics and Philosophy of Art x Philosophy of Music x clear all

Auditory Imagination

Daniel A. Schmicking.

in The Oxford Handbook of Sound and Imagination, Volume 1

September 2019; p ublished online August 2019 .

Article. Subjects: Sound Studies; Philosophy of Music. 11968 words.

Daniel Schmicking explores auditory imagination from a phenomenological perspective. He starts with an outline of phenomenological tools building mainly on Husserl’s thinking, and then sets...

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Bodies, Border, Technology

Adriene Jenik.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 6724 words.

This chapter considers the ways in which distance can be accounted for and utilized in improvisational practices. It rejects the notion that proximal bodies in space are a necessary...

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Bondy, Egon

Pavla Jonssonová.

in Oxford Music Online

P ublished online March 2018 .

Reference Entry. Subjects: Philosophy of Music; Contemporary Music. 349 words.

[Fišer, Zbyněk]

(b Prague, 20 Jan 1930; d Bratislava, 9 April 2007).Czech philosopher, writer, and poet, and a leading figure of the Czechoslovak underground. Egon Bondy’s...

Creating a Framework for Music Making and Leisure

Marie McCarthy.

in The Oxford Handbook of Music Making and Leisure

February 2017; p ublished online January 2017 .

Article. Subjects: Music Education and Pedagogy; Philosophy of Music. 8576 words.

This chapter revisits the writings of music sociologist and educator Max Kaplan (1911–1998) to inform efforts to bring together the domains of leisure and music making in the twenty-first...

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Developing a Cultural Theory of Music Making and Leisure

Karl Spracklen.

in The Oxford Handbook of Music Making and Leisure

February 2017; p ublished online January 2017 .

Article. Subjects: Music Education and Pedagogy; Philosophy of Music. 7739 words.

People listen to music in their leisure time, in leisure spaces, as a supposedly free act of agency. Yet social and cultural theorists show that leisure choices and spaces are constrained...

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Imposture as Improvisation

Antoinette LaFarge.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 9527 words.

This chapter discusses imposture as a form of improvisation that takes place outside of traditional theatrical space and over a comparatively long timeline. The author analyzes both obscure...

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Improvisation and Ecclesial Ethics

Samuel Wells.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online June 2014 .

Article. Subjects: Music; Philosophy of Music. 7044 words.

This chapter shows why and how Christian ethics is helpfully linked to improvisation in the theater. It describes universal (ethics for anyone), subversive (ethics for the excluded), and...

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Improvisation in Contemporary Experimental Poetry

Hazel Smith.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online December 2014 .

Article. Subjects: Music; Philosophy of Music. 9378 words.

This chapter characterizes recent developments in improvisation in contemporary experimental poetry. It traces the evolution of improvised poetry from the work of classic improvisers such...

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Improvisation in Freestyle Rap

Ellie M. Hisama.

in The Oxford Handbook of Critical Improvisation Studies, Volume 2

September 2016; p ublished online March 2016 .

Article. Subjects: Music; Musicology and Music History; Philosophy of Music. 4037 words.

This chapter explores the process of improvisation by emcees in freestyle, or improvised, rap. Drawing on interviews with and writings by freestyle practitioners as well as on recent...

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The Improvisation of Poetry, 1750–1850

Angela Esterhammer.

in The Oxford Handbook of Critical Improvisation Studies, Volume 1

September 2016; p ublished online January 2015 .

Article. Subjects: Music; Philosophy of Music. 7319 words.

The “Romantic century” (1750–1850) saw the rise and decline of a distinctive type of improviser: the improvvisatore or improvvisatrice, a solo poet-performer who spontaneously composed...

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