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.

Full Product Details

Author:   George E. Lewis (Edwin H. Case Professor of American Music, Edwin H. Case Professor of American Music, Columbia University) ,  Benjamin Piekut (Associate Professor of Music, Associate Professor of Music, Cornell University)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 24.90cm , Height: 4.30cm , Length: 17.50cm
Weight:   1.179kg
ISBN:  

9780199892921

ISBN 10:   019989292
Pages:   600
Publication Date:   03 November 2016
Audience:   College/higher education ,  Professional and scholarly ,  Tertiary & Higher Education ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

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

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Author Information

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).

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