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The Oxford handbook of critical improvisation studies /

edited by George E. Lewis and Benjamin Piekut.

Book Cover
Names: Lewis, George, | Piekut, Benjamin,
Published: New York, N.Y. ; Oxford, U.K. : Oxford University Press, [2016]
Series: Oxford handbooks.
Topics: Improvisation (Music) | Creation (Literary, artistic, etc.) | Improvisation | Musik | Improvisation (musique) | Création.
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008 151019s2016 nyua b 001 0 eng
010 |a 2015041014
020 |a9780195370935|q(hardcover ;|qvolume 1 ;|qalkaline paper)
020 |a0195370937
020 |a9780199892921|q(hardcover ;|qvolume 2 ;|qalkaline paper)
020 |a019989292X
027 |q(Coutts)033185307
035 |a(OCoLC)ocn928750684
042 |apcc
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050 00|aMT68|b.O97 2016
082 00|a001|223
245 04|aThe Oxford handbook of critical improvisation studies /|cedited by George E. Lewis and Benjamin Piekut.
264 1|aNew York, N.Y. ;|aOxford, U.K. :|bOxford University Press,|c[2016]
264 4|c©2016
300 |a2 volumes :|billustrations ;|c26 cm.
336 |atext|btxt|2rdacontent
337 |aunmediated|bn|2rdamedia
338 |avolume|bnc|2rdacarrier
490 1 |aOxford handbooks
504 |aIncludes bibliographical references and index.
505 00|gV. 1. Introduction:|tOn critical improvisation studies /|rGeorge E. Lewis and Benjamin Piekut --|gPart I.|tCognitions.|tCognitive processes in musical improvisation /|rRoger T. Dean and Freya Bailes --|tThe cognitive neuroscience of improvisation /|rAaron L. Berkowitz --|tImprovisation, action understanding, and music cognition with and without bodies /|rVijay Iyer --|tThe ghost in the music, or the perspective of an improvising ant /|rDavid Borgo --|gPart II|tCritical theories.|tThe improvisative /|rTracy McMullen --|tJurisgenerative grammar (for alto) /|rFred Moten --|tIs improvisation present? /|rMichael Gallope --|tPolitics as hypergestural improvisation in the age of mediocracy /|rYves Citton --|tOn the edge: a frame of analysis for improvisation /|rDavide Sparti --|tThe Salmon of Wisdom: on the consciousness of self and other in improvised music and in the language that sets one free /|rAlexandre Pierrepont --|tImprovising yoga /|rSusan Leigh Foster --|gPart III.|tCultural histories.|tMichel de Montaigne, or philosophy as improvisation /|rTimothy Hampton --|tThe improvisation of poetry, 1750-1850: oral performance, print culture, and the modern Homer /|rAngela Esterhammer --|tGermaine de Staèel's Corinne, or Italy and the early usage of improvisation in English /|rErik Simpson --|tImprovisation, time, and opportunity in the rhetorical tradition /|rGlyn P. Norton --|tImprovisation, democracy, and feedback /|rDaniel Belgrad --|gPart IV.|tMobilities.|tImprovised dance in the reconstruction of THEM /|rDanielle Goldman --|tImprovising social exchange: African American social dance /|rThomas F. DeFrantz --|tFixing improvisation: copyright and African American vernacular dancers in the early twentieth century /|rAnthea Kraut --|tPerforming gender, race, and power in improv comedy /|rAmy Seham --|tShifting cultivation as improvisation /|rPaul Richards --|gPart V.|tOrganizations.|tImprovisation in management /|rPaul Ingram and William Duggan --|tFree improvisation as a path-dependent process /|rJared Burrows and Clyde G. Reed --|gPart VI.|tPhilosophies.|tMusical improvisation and the philosophy of music /|rPhilip Alperson --|tImprovisation and time-consciousness /|rGary Peters --|tImprovising Impromptu, or, What to do with a broken string /|rLydia Goehr --|tEnsemble improvisation, collective intention, and group attention /|rGarry L. Hagberg --|tInterspecies improvisation /|rDavid Rothenberg --|tSpiritual exercises, improvisation, and moral perfectionism: with special reference to Sonny Rollins /|rArnold I. Davidson --|tImprovisation and ecclesial ethics /|rSamuel Wells.
505 00|gV. 2.|gIntroduction:|tOn critical improvisation studies /|rGeorge E. Lewis and Benjamin Piekut --|gPart I.|tCities.|tImprovisation technology as mode of redesigning the urban /|rChristopher Dell and Ton Matton --|tLots will vary in the available city /|rDavid P. Brown --|tImprovising the future in post-Katrina New Orleans /|rEric Porter --|gPart II.|tCreativities.|tBilly Connolly, Daniel Barenboim, Willie Wonka, jazz bastards, and the universality of improvisation /|rRaymond MacDonald and Graeme Wilson --|tA computationally motivated approach to cognition studies in improvisation /|rBrian Magerko --|tA consciousness-based look at spontaneous creativity /|rEd Sarath --|tIn the beginning, there was improvisation /|rBruce Ellis Benson --|gPart III.|tMusics.|tLandmarks in the study of improvisation: perspectives from ethnomusicology /|rBruno Nettl --|tSaving improvisation: Hummel and the free fantasia in the early nineteenth century /|rDana Gooley --|tNegotiating freedom and control in composition: improvisation and its offshoots, 1950-1980|rSabine Feisst --|tMusical improvisation: play, efficacy, and significance /|rA.J. Racy --|tImprovisation in freestyle rap /|rEllie M. Hisama --|tSpeaking of the I-word /|rLeo Treitler --|gPart IV. $t Writings.|tModernist improvisations /|rRob Wallace --|tDiversity and divergence in the improvisational evolution of literary genres /|rJennifer D. Ryan --|tImprovisatory practices and the dawn of the new American cinema /|rSara Villa --|tBrilliant corners: improvisation and practices of freedom in Sent for you yesterday /|rWalton Muyumba --|tImprovisation in contemporary experimental poetry|rHazel Smith --|gPart V.|tMedia.|tSubjective computing and improvisation /|rD. Fox Harrell --|tImprovisation and interaction, canons and rules, emergence and play /|rSimon Penny --|tImposture as improvisation: living fiction /|rAntoinette LaFarge --|tRole-play, improvisation, and emergent authorship /|rCelia Pearce --|tBodies, border, technology: the promise and perils of telematic improvisation /|rAdriene Jenik --|tShe stuttered: mapping the spontaneous middle /|rSher Doruff --|gPart VI.|tTechnologies.|tLive algorithms for music: can computers be improvisers? /|rMichael Young and Tom Blackwell --|tImprovisation of the masses: anytime, anywhere mobile music /|rGe Wang.
650 0|aImprovisation (Music)
650 0|aCreation (Literary, artistic, etc.)
650 7|aCreation (Literary, artistic, etc.)|2fast|0(OCoLC)fst00882393
650 7|aImprovisation (Music)|2fast|0(OCoLC)fst00968306
650 7|aImprovisation|2gnd
650 7|aMusik|2gnd
650 7|aImprovisation (musique)|2ram
650 7|aCréation.|2ram
700 1 |aLewis, George,|d1952-|eeditor.
700 1 |aPiekut, Benjamin,|d1975-|eeditor.
776 08|iOnline version:|tOxford handbook of critical improvisation studies.|dNew York : Oxford University Press, 2016|z9780199707935|w(DLC) 2015044217
830 0|aOxford handbooks.
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945 |aMaster record variable field(s) change: 505|b03/23/2018
945 |aMaster record variable field(s) change: 505|b08/05/2017
945 |aMaster record variable field(s) change: 505|b01/27/2017
945 |aMaster record variable field(s) change: 505|b12/09/2016
945 |aLBD data change|b10/28/2016
945 |b10/12/2016
994 |a92|bUIU

Staff View for: The Oxford handbook of critical improvis