OXFORD UNIVERSITY PRESS

The Oxford Handbook of Critical Improvisation Studies, Volume 2

ISBN : 9780197602515

Price(incl.tax): 
¥8,580
Author: 
George E. Lewis; Benjamin Piekut
Pages
600 Pages
Format
Paperback
Size
170 x 244 mm
Pub date
Jan 2022
Series
Oxford Handbooks
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Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of The Oxford Handbook of Critical Improvisation Studies gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.

Index: 

Preface to Volume II
Introduction
George E. Lewis and Benjamin Piekut
I. Cities
1. Improvisation Technology as Mode of Redesigning the Urban
Christopher Dell and Ton Matton
2. Lots Will Vary in the Available City
David P. Brown
3. Improvising the Future in Post-Katrina New Orleans
Eric Porter
II. Creativities
4. Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation
Raymond MacDonald and Graeme Wilson
5. A Computationally Motivated Approach to Cognition Studies in Improvisation
Brian Magerko
6. A Consciousness-based Look at Spontaneous Creativity
Ed Sarath
7. In the Beginning, There Was Improvisation
Bruce Ellis Benson
III. Musics
8. Landmarks in the Study of Improvisation: Perspectives from Ethnomusicology
Bruno Nettl
9. Saving Improvisation: Hummel and the Free Fantasia in the Early Nineteenth Century
Dana Gooley
10. Negotiating Freedom and Control in Composition: Improvisation and Its Offshoots, 1950 to 1980
Sabine Feisst
11. Musical Improvisation: Play, Efficacy, and Significance
A. J. Racy
12. Improvisation in Freestyle Rap
Ellie M. Hisama
13. Speaking of the I-Word
Leo Treitler
IV. Writings
14. Modernist Improvisations
Rob Wallace
15. Diversity and Divergence in the Improvisational Evolution of Literary Genres
Jennifer D. Ryan
16. Improvisatory Practices and the Dawn of the New American Cinema
Sara Villa
17. Brilliant Corners: Improvisation and Practices of Freedom in Sent for You Yesterday
Walton Muyumba
18. Improvisation in Contemporary Experimental Poetry
Hazel Smith
V. Media
19. Subjective Computing and Improvisation
D. Fox Harrell
20. Improvisation and Interaction, Canons and Rules, Emergence and Play
Simon Penny
21. Imposture as Improvisation: Living Fiction
Antoinette LaFarge
22. Role-Play, Improvisation, and Emergent Authorship
Celia Pearce
23. Bodies, Border, Technology: The Promise and Perils of Telematic Improvisation
Adriene Jenik
24. She Stuttered: Mapping the Spontaneous Middle
Sher Doruff
VI. Technologies
25. Live Algorithms for Music: Can Computers Be Improvisers?
Michael Young and Tim Blackwell
26. Improvisation of the Masses: Anytime, Anywhere Mobile Music
Ge Wang

About the author: 

George E. Lewis, Edwin H. Case Professor of American Music at Columbia University, is a fellow of the American Academy of Arts and Sciences, a MacArthur Fellow, a Guggenheim Fellow, and author of the award-winning 2008 book, A Power Stronger Than Itself: The AACM and American Experimental Music. Benjamin Piekut, Associate Professor of Music at Cornell University, writes on the history of experimental and improvised music after 1960. He is the author of Experimentalism Otherwise (2011) and editor of Tomorrow Is the Question (2014).

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