The Oxford Handbook of Critical Improvisation Studies, Volume 2

by George E. Lewis (Editor), Benjamin Piekut (Editor)

Overview

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.

Product Details

ISBN-13:	9780199892921
Publisher:	Oxford University Press
Publication date:	09/19/2016
Series:	Oxford Handbooks
Pages:	600
Product dimensions:	6.80(w) x 9.90(h) x 1.60(d)

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 (University of Chicago Press).


An associate professor of music at Cornell University, Benjamin Piekut writes on the history of experimental and improvised music after 1960. He is the author of Experimentalism Otherwise (University of California Press, 2011) and editor of Tomorrow Is the Question (University of Michigan Press, 2014).

Table of Contents

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