Description
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.
Table of Contents
Preface to Volume IIntroductionGeorge E. Lewis and Benjamin PiekutI. Cognitions1. Cognitive Processes in Musical ImprovisationRoger Dean and Freya Bailes2. The Cognitive Neuroscience of ImprovisationAaron L. Berkowitz3. Improvisation, Action Understanding, and Music Cognition With and Without BodiesVijay Iyer4. The Ghost in the Music, or The Perspective of an Improvising AntDavid BorgoII. Critical Theories5. The ImprovisativeTracy McMullen6. jurisgenerative grammar (for alto)Fred Moten7. Is Improvisation Present?Michael Gallope8. Politics as Hypergestural Improvisation in the Age of MediocracyYves Citton9. On the Edge: A Frame of Analysis for ImprovisationDavide Sparti10. The Salmon of Wisdom: On the Consciousness of Self and Other in Improvised Music and In the Language that Sets One FreeAlexandre Pierrepont11. Improvising YogaSusan Leigh FosterIII. Cultural Histories12. Michel de Montaigne, or Philosophy as ImprovisationTimothy Hampton13. The Improvisation of Poetry, 1750-1850: Oral Performance, Print Culture, and the Modern HomerAngela Esterhammer14. Germaine de Staël's Corinne, or Italy and the Early Usage of Improvisation in EnglishErik Simpson15. Improvisation, Time, and Opportunity in the Rhetorical TraditionGlyn P. Norton16. Improvisation, Democracy, and FeedbackDaniel BelgradIV. Mobilities17. Improvised Dance in the Reconstruction of THEMDanielle Goldman18. Improvising Social Exchange: African American Social DanceThomas F. DeFrantz19. Fixing Improvisation: Copyright and African American Vernacular Dancers in the Early Twentieth CenturyAnthea Kraut20. Performing Gender, Race, and Power in Improv ComedyAmy Seham21. Shifting Cultivation as ImprovisationPaul RichardsV. Organizations22. Improvisation in ManagementPaul Ingram and Bill Duggan23. Free Improvisation as a Path-Dependent ProcessJared Burrows and Clyde G. ReedVI. Philosophies24. Musical Improvisation and the Philosophy of MusicPhilip Alperson25. Improvisation and Time-ConsciousnessGary Peters26. Improvising Impromptu, Or, What to Do with a Broken StringLydia Goehr27. Ensemble Improvisation, Collective Intention, and Group AttentionGarry L. Hagberg28. Interspecies ImprovisationDavid Rothenberg29. Spiritual Exercises, Improvisation, and Moral Perfectionism:With Special Reference to Sonny RollinsArnold I. Davidson30. Improvisation and Ecclesial EthicsSamuel Wells
