Results for 'Improvisation'

552 found
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  1. Improvisation and the Self-Organization of Multiple Musical Bodies.Ashley E. Walton, Michael J. Richardson, Peter Langland-Hassan & Anthony Chemero - 2015 - Frontiers in Psychology 6:1-9.
  2. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation (...)
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  3. Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency.Aili Bresnahan - 2014 - Dance Research Journal 46 (1):84-94.
    This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...)
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  4.  5
    Improvisation as a Method of Composition: Reconciling the Dichotomy.Katya Davisson - forthcoming - British Journal of Aesthetics.
    This article builds upon existing scholarship concerning the relationship between improvisation and composition. Sections 1 to 3 comprise an exploration into and analysis of both the traditional understanding of improvisation and composition as opposing categories, as well as the more modern, nuanced view of their interpenetrating natures. I conclude that the former view should be replaced by the latter. Sections 4 and 5 present and subsequently negate two potential failings of my argument. First, I confront the problem posed (...)
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  5.  81
    The Improvisation of Musical Dialogue: A Phenomenology of Music.Bruce Ellis Benson - 2003 - Cambridge University Press.
    This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a (...)
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  6. The Improvising Mind: Cognition and Creativity in the Musical Moment.Aaron Berkowitz - 2010 - Oxford University Press UK.
    The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...)
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  7.  38
    Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities.Iain Campbell - 2021 - Contemporary Music Review 40 (4):409-424.
    In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. (...)
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  8.  66
    Improvisation and Installation Art”.Elisa Caldarola - 2021 - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti: Routledge.
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. (...)
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  9.  3
    Improvisation and thinking in movement: an enactivist analysis of agency in artistic practices.Susanne Ravn & Simon Høffding - 2022 - Phenomenology and the Cognitive Sciences 21 (3):515-537.
    In this article, we inquire into Maxine Sheets-Johnstone and Michele Merritt’s descriptions and use of dance improvisation as it relates to “thinking in movement.” We agree with them scholars that improvisational practices present interesting cases for investigating how movement, thinking, and agency intertwine. However, we also find that their descriptions of improvisation overemphasize the dimension of spontaneity as an intuitive “letting happen” of movements. To recalibrate their descriptions of improvisational practices, we couple Ezequiel Di Paolo, Thomas Buhrmann, and (...)
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  10.  30
    Improvisation: The Astonishing Bridge to Our Inner Music.Mauro Maldonato - 2018 - World Futures 74 (3):158-174.
    Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” or “reproductive” tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between consciousness (...)
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  11.  68
    Improvisation, Creativity, and Formulaic Language.Ian Mackenzie - 2000 - Journal of Aesthetics and Art Criticism 58 (2):173-179.
    Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the metrical (...)
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  12.  23
    Improvisation Unfolding: Process, Pattern, and Prediction.Marc Duby - 2018 - World Futures 74 (3):187-198.
    The main aim of this article is to argue the case for understanding improvising as a real-time emergent process grounded in collaborative action, while noting that talking about improvisation, bluntly put, is not the same as improvising. The ways in which improvisers respond and adapt to changing circumstances in the moment and over time, it is argued, connect directly to the discipline of process philosophy and involve pattern recognition and creation skills as well as the ability to predict the (...)
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  13.  96
    Improvisation in Dance.Curtis Carter - 2000 - Journal of Aesthetics and Art Criticism 58 (2):181-190.
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  14.  84
    Improvisational Teaching as Mode of Knowing. Shem-Tov - 2011 - Journal of Aesthetic Education 45 (3):103.
    Theatrical improvisation is a joyful, creative, and playful activity of discovery and a spontaneous process. It seems to be the opposite of teaching, which requires proper planning and advance thinking and seems a very “serious business” that deals with values and knowledge. Improvisation is shaped by flexibility and by transformative and equal relations among the participants. In contrast, there is in education usually a very clear hierarchy of teacher and pupils, and the relationships are mostly managed in a (...)
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  15. Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity.R. Keith Sawyer - 2000 - Journal of Aesthetics and Art Criticism 58 (2):149-161.
  16. Improvisation, Temporality and Embodied Experience.Vijay Iyer - 2004 - Journal of Consciousness Studies 11 (3-4):159-173.
    This journal's well-intentioned consideration of the arts has turned out to be quite the Pandora's box. As soon as we broach the subject of aesthetics, we are already in the realm of ideology; as soon as we impose the frame of scientific inquiry upon any subject, we invoke another kind of ideology. The previous issues in this series have depicted the unfolding of an ideological clash of cultures between sciences and the humanities, enough to make C.P. Snow blush. For the (...)
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  17.  9
    Joint Improvisation in the Arts Practices : Entrainment, Engagement and Expert Skill.Ingar Brinck - 2018 - In Simon Penny & Kelly Donahey (eds.), Proceedings from A Body of Knowledge : Embodied Cognition and the Arts conference 8-10 Dec 2016 - Embodied Cognition and the Arts conference 8-10 Dec 2016. pp. 1-19.
    To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research (...)
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  18. Unplanned Coordination: Ensemble Improvisation as Collective Action.Ali Hasan & Jennifer Kayle - 2021 - Journal of Social Ontology 7 (2):143-172.
    The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. In this article, we present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective (...)
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  19.  11
    Joint Improvisation, Minimalism and Pluralism About Joint Action.Pierre Saint Germier, Cedric Paternotte & Clement Canonne - 2021 - Journal of Social Ontology 7 (1):97-118.
    This paper introduces freely improvised joint actions, a class of joint actions characterized by highly unspecific goals and the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s (...)
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  20.  17
    Improvising Inquiry in the Community: The Teacher Profile.Eleonora Zorzi & Marina Santi - 2020 - Childhood and Philosophy 16 (36):01-17.
    Improvising involves participants adopting attitudes and dispositions that make them welcoming towards what happens, even when it is unforeseen. How is the discourse on improvisation and a disposition to improvise in the community connected to the concept of inquiry? What type of reasoning can be developed? This paper aims to reflect on two different perspectives. On the one hand, we consider the feasibility of improvising inquiry in the community, promoting inquiry as an activity that can be developed extemporaneously when (...)
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  21.  1
    Philosophy of Improvisation: Interdisciplinary Perspectives on Theory and Practice.Susanne Ravn & Simon Høffding - 2021 - Routledge.
    This volume brings together philosophical and interdisciplinary perspectives on improvisation. The contributions connect the theoretical dimensions of improvisation with different viewpoints on its practice in the arts and the classroom. The chapters address the phenomenon of improvisation in two related ways. On the one hand, they attend to the lived practices of improvisation both within and without the arts in order to explain the phenomenon. They also extend the scope of improvisational practices to include the role (...)
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  22. Improvisation.Gilbert Ryle - 1976 - Mind 85 (337):69-83.
  23.  22
    Jazz Improvisers' Shared Understanding: A Case Study.Michael F. Schober & Neta Spiro - 2014 - Frontiers in Psychology 5.
  24.  6
    History Improvised.Jean-Luc Nancy & Peter Hanly - 2016 - Philosophy Today 60 (4):827-838.
    In this text, a dialogue about the difficult task of seizing the sense of history today is presented. The point of departure is the difficulty of the times to begin and the necessity to rethink the difference between historiography and historicity, and further between events, the event and the advent. The dialogue proposes to revisit the meaning of beginning from out the experience of improvisation and to reflect upon the possibility of developing improvisation as a sense of history.
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  25. Improvisation.L. B. Brown - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge. pp. 59--69.
     
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  26.  10
    The Improvisational State of Mind: A Multidisciplinary Study of an Improvisatory Approach to Classical Music Repertoire Performance.David Dolan, Henrik J. Jensen, Pedro A. M. Mediano, Miguel Molina-Solana, Hardik Rajpal, Fernando Rosas & John A. Sloboda - 2018 - Frontiers in Psychology 9.
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  27. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the (...)
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  28.  7
    Improvisation and Ontology of Art.Alessandro Bertinetto - 2020 - Rivista di Estetica 73:10-29.
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  29.  2
    Improvisations in the Embodied Interactions of a Non-Speaking Autistic Child and His Mother: Practices for Creating Intersubjective Understanding.Rachel S. Y. Chen - 2022 - Cognitive Linguistics 33 (1):155-191.
    The human capacity for intersubjective engagement is present, even when one is limited in speaking, pointing, and coordinating gaze. This paper examines the everyday social interactions of two differently-disposed actors—a non-speaking autistic child and his speaking, neurotypical mother—who participate in shared attention through dialogic turn-taking. In the collaborative pursuit of activities, the participants coordinate across multiple turns, producing multi-turn constructions that accomplish specific goals. The paper asks two questions about these collaborative constructions: 1) What are their linguistic and discursive structures? (...)
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  30.  26
    Improvisation and Meditation in the Academy: Parallel Ordeals, Insights, and Openings.Edward Sarath - 2015 - Journal of Philosophy of Education 49 (2):311-327.
    This article examines parallel challenges and avenues for progress I have observed in my efforts to introduce improvisation in classical music studies, and meditation in music and overall academic settings. Though both processes were once central in their respective knowledge traditions—improvisation in earlier eras of European classical music, meditation and contemplative disciplines in Western philosophy—as well as being globally prominent, they nonetheless occupy marginalised roles in the contemporary academy. Other parallels include the challenges and benefits inherent in the (...)
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  31.  18
    Improvisation in the Disorders of Desire: Performativity, Passion and Moral Education.Ian Munday - 2010 - Ethics and Education 5 (3):281 - 297.
    In this article, I attempt to bring some colour to a discussion of fraught topics in education. Though the scenes and stories (from education and elsewhere) that feature here deal with racism, the discussion aims to say something to such topics more generally. The philosophers whose work I draw on here are Stanley Cavell and Judith Butler. Both Butler and Cavell develop (or depart from) J.L. Austin's theory of the performative utterance. Butler, following Derrida, argues that in concentrating on the (...)
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  32. Contact Improvisation and the Lived World.Elizabeth A. Behnke - 2003 - Studia Phaenomenologica 3 (Special):39-61.
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  33. Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of (...), Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions. (shrink)
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  34. Creativity and Cultural Improvisation.Elizabeth Hallam & Tim Ingold (eds.) - 2007 - Berg.
    There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and (...)
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  35. Jazz Improvisation and Ethical Interaction : A Sketch of the Connections.Garry L. Hagberg - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
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  36.  16
    Improvising in the Vulnerable Encounter: Using Improvised Participatory Theatre in Change for Healthcare Practice.Henry Larsen, Preben Friis & Chris Heape - 2018 - Arts and Humanities in Higher Education 17 (1):148-165.
    Healthcare practitioners are often presented with vulnerable encounters where their professional experience is insufficient when dealing with patients who suffer from illnesses such as chronic pain. How can one otherwise understand chronic pain and develop practices whereby medical healthcare practitioners can experience alternative ways of doing their practice? This essay describes how a group of researchers have, over a number of years, developed improvised participatory theatre as a means of engaging healthcare practitioners, patients and other lay people in situations where (...)
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  37.  41
    Creating Time: Social Collaboration in Music Improvisation.Ashley E. Walton, Auriel Washburn, Peter Langland-Hassan, Anthony Chemero, Heidi Kloos & Michael J. Richardson - 2018 - Topics in Cognitive Science 10 (1):95-119.
    Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements of (...)
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  38.  42
    Composition, Improvisation, Constitution: Forms of Life in the Music of Pierre Boulez and Ornette Coleman.Timothy S. Murphy - 1998 - Angelaki 3 (2):75 – 102.
    (1998). Composition, improvisation, constitution: forms of life in the music of pierre boulez and ornette coleman. Angelaki: Vol. 3, The love of music, pp. 75-102.
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  39.  23
    Improvisation as Liberation: Endeavours of Resistance in Free Jazz.Thomas Kocherhans - 2012 - Cuadernos de Filosofía Latinoamericana 33 (106):39-52.
    This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical and (...)
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  40. Envisioning Autonomy Through Improvising and Composing: Castoriadis Visiting Creative Music Education Practice.Panagiotis A. Kanellopoulos - 2012 - Educational Philosophy and Theory 44 (2):151-182.
    Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...)
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  41.  38
    Foreword: Improvisation in the Arts.Garry Hagberg - 2000 - Journal of Aesthetics and Art Criticism 58 (2):95-97.
  42. Improvisation: An Overview.Philip Alperson - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 2--478.
     
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  43. Naturalism in Improvisation and Embodiment.E. Landgraf - 2016 - Constructivist Foundations 11 (3):613-615.
    Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: This commentary adds historical perspective to the use of improvisation and conversation as models for the promotion of naturalism in acting. It wants to denaturalize naturalism and the concept of embodiment in support of Scholte’s reconceptualization of the naturalist theatre, and concludes with a reflection on the societal function of art and theatre today.
     
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  44.  40
    Improvising a Role for Philosophy in Today’s Academy.Louise Collins - 2001 - Teaching Philosophy 24 (4):347-369.
    Where do new philosophy courses come from? Traditionally, the answer to this question has involved generating a new course that fits into one of the following species of philosophy courses: “historical,” “problems-based,” and “skills-based.” This paper gives a more heterogeneous answer to this question and describes a new type of course, which investigates the nature and function of the university and its relation to three important topics: human cloning, the impact of new information technologies, and the changing shape of the (...)
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  45.  16
    Improvisation and Hybrid Genres: Reading Childe Harold’s Pilgrimage.Bernard Beatty - 2019 - The European Legacy 24 (3-4):264-282.
    ABSTRACTIn the first section I ask two questions: what sort of a poem is Childe Harold’s Pilgrimage, and what is the immediate experience of reading it in sequence? These two questions are the practical equivalents of the main terms of my title. I try to answer them by reconstructing a first reading of the poem in the light of my own experience and the imagined one of the first readers of the poem. I suggest that two terms—accretion and elimination—are helpful (...)
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  46.  78
    Improvisation and the Art of Making Things Stick.Karin Barber - 2007 - In Elizabeth Hallam & Tim Ingold (eds.), Creativity and Cultural Improvisation. Berg. pp. 44.
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  47.  48
    Improvising the Future: Theory, Practice, and Struggle in Adorno and Horkheimer's Towards a New Manifesto.Matt Applegate - 2013 - Telos: Critical Theory of the Contemporary 2013 (162):177-181.
    ExcerptA new manifesto for the radical Left is vital, and it is to emerge from whispers, riddles, and aphorisms without lapsing into dogma, pure utopia, or party politics. Its focus will be on practice and action, but will refuse to take command of the future. A new manifesto is, if it is to be all of these things at once, improvisation. These are a few of the basic features and premises of Adorno and Horkheimer's 1956 dialogue, posthumously titled, Towards (...)
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  48. Improvising Mind.Aaron Berkowitz - 2010 - Oxford University Press UK.
    The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...)
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  49. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  50.  41
    Musical Improvisation as Interpretative Activity.James J. Valone - 1985 - Journal of Aesthetics and Art Criticism 44 (2):193-194.
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