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Books on the topic 'Improvisation collective'

Author: Grafiati

Published: 12 April 2025

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1

Darling, Linda Farr, Gaalen Erickson, and Anthony Clarke, eds. Collective Improvisation in a Teacher Education Community. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5668-0.

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2

Coleman, Ornette. Free Jazz: A collective improvisation by the Ornette Coleman Double Quartet. New York, N.Y: Atlantic Jazz, 1988.

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3

Bernard, Lortat-Jacob, ed. L' Improvisation dans les musiques de tradition orale: Ouvrage collectif. Paris: SELAF, 1987.

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4

Young, Rebecca. Drama projects for the middle school classroom: A collection of theatre activities for young actors. Colorado Springs, Colorado: Meriwether Pub. Ltd., 2013.

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5

Bishop, Tom, Gina Bloom, and Erika T. Lin, eds. Games and Theatre in Shakespeare's England. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723251.

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This collection of essays brings together theories of play and game with theatre and performance to produce new understandings of the history and design of early modern English drama. Through literary analysis and embodied practice, an international team of distinguished scholars examines a wide range of games—from dicing to bowling to roleplaying to videogames—to uncover their fascinating ramifications for the stage in Shakespeare’s era and our own. Foregrounding ludic elements challenges the traditional view of drama as principally mimesis, or imitation, revealing stageplays to be improvisational experiments and participatory explorations into the motive, means, and value of recreation. Delving into both canonical masterpieces and hidden gems, this innovative volume stakes a claim for play as the crucial link between games and early modern theatre, and for the early modern theatre as a critical site for unraveling the continued cultural significance and performative efficacy of gameplay today.

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6

Elma, Hodžić. Ratne improvizacije: Iz kolekcije Opkoljeno Sarajevo Historijskog muzeja Bosne i Hercegovine = Wartime improvisations : from the Besieged Sarajevo collection of the History Museum of Bosnia and Herzegovina. Sarajevo: Historijski muzej Bosne i Hercegovine, 2021.

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7

Hagberg, Garry L. Ensemble Improvisation, Collective Intention, and Group Attention. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.011.

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Jazz improvisation offers raw material of considerable value for issues in the philosophy of mind, but this material remains insufficiently investigated. Collective intention and distributed group attention have emerged within philosophy in recent years as fruitful areas of study: the long-entrenched dualistic picture of an inner mental event standing behind its physical manifestation has been supplanted by a model of embodied action that is unburdened by a misleading inner/outer dichotomy (so we can now see how an intentional musical work emergeswithin, and not prior to, its physical sound). This makes possible a new focus on a special form of collective intentional action that is not contained within one single mind at one given moment, but rather distributed across a group of individuals engaged in a cooperative, interactively creative performance; cases examined here include John Coltrane, among others.

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8

Darling, Farr. Collective Improvisation in a Teacher Education Community. Springer Nature, 2008.

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9

Clarke, Anthony, Gaalen Erickson, and Linda Farr Darling. Collective Improvisation in a Teacher Education Community. Springer Netherlands, 2008.

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10

Clarke, Anthony, Gaalen Erickson, and Linda Farr Darling. Collective Improvisation in a Teacher Education Community. Springer, 2007.

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11

Jacqueline, Jong de. Collective Talent. Amsterdam University Press, 2007.

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12

L'improvisation musicale collective. Paris: L'Harmattan, 2016.

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13

Group Motion in Practice: Collective Creation Through Dance Movement Improvisation. McFarland & Company, Incorporated Publishers, 2018.

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14

Playbuilding as qualitative research: The collective creation of dramatice representation. Walnut Creek, Calif: Left Coast Press, 2009.

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15

Making It up Together: The Art of Collective Improvisation in Bali and Beyond. University of Chicago Press, 2019.

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16

Tilley, Leslie A. Making It up Together: The Art of Collective Improvisation in Bali and Beyond. University of Chicago Press, 2019.

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17

Bessai, Diane. Playwrights of Collective Creation (The Canadian Dramatist Vol 2). Simon & Pierre Pub Co Ltd, 1991.

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18

Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond. University of Chicago Press, 2019.

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19

(Editor), Linda Farr Darling, Gaalen Erickson (Editor), and Anthony Clarke (Editor), eds. Collective Improvisation in a Teacher Education Community (Self Study of Teaching and Teacher Education Practices). Springer, 2007.

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20

Citton, Yves. Politics as Hypergestural Improvisation in the Age of Mediocracy. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.006.

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This chapter draws on the analysis of musical improvisation, as practiced within “free jazz,” in order to shed light on a politics of the multitudes. It suggests that we should consider media-intensive Western “democracies” as “mediocracies,” within which political affects are carried through the communication of gestures. A Spinozist analysis of collective agency in societies of control leads to articulating nine steps toward a political sharpening of the reference to “improvisation.” For politics to benefit from the powers unleashed and theorized by improvisers, it needs to devise a new vocabulary and a new imaginary of human cooperation, which this chapter attempts to sketch in its broadest lines, inspired by authors and creators like Guerino Mazzola, Anthony Braxton, Derek Bailey, Lawrence “Butch” Morris, Michel Foucault, Bruno Latour, and Antonio Negri.

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21

Sarath, Ed. A Consciousness-Based Look at Spontaneous Creativity. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.13.

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This chapter explores improvisation from a consciousness-based standpoint. Examination of an inner mechanics for the transcendent experience frequently reported by improvisers sets the stage for consciousness-based distinctions between improvisation and composition processes, in which improvisation is extricated from common misclassification as an accelerated subspecies of composition. Temporal, cultural, and linguistic factors are considered in distinguishing between improvisatory and compositional paradigms. The intimate melding between musicians and listeners in peak improvised performance is paralleled with the deep collective communion associated with group meditation practice as indicative of a nonlocal, intersubjective field of consciousness, empirical support for which suggests that possible societal benefits may result from certain applications. An “improvisatory hermeneutics” is considered as a means for new ways of perceiving global challenges and paradigmatic change that centers intersubjectivity and other anomalous possibilities not commonly embraced in academic and public policy discourse.

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22

Morse, Nicole Erin. Selfie Aesthetics. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022756.

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In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.

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23

Improvisation starters: A collection of 900 improvisation situations for the theater. White Hall, Va: Betterway Publications, 1992.

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24

Barzel, Tamar. “We Began from Silence”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0010.

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In the late 1970s, the Mexican ensemble Atrás del Cosmos, a pioneering free improvisation collective (1975–1983), held an eight-month residency at El Galeón, a city theater. Jazz and experimental theater were twin touchstones for the ensemble, which adapted ideas borrowed from Alejandro Jodorowsky, a Chilean expatriate known for his radical influence on the city’s 1960s theater scene, including the notion that theatrical performance should shatter social decorum and elicit liberating ways of being-in-the-world. For Atrás del Cosmos, art’s transformative potential also lay in articulating a personal voice in a collective context—a central tenet of jazz and African-American expressive culture. The ensemble’s multivalent genealogy, as well as its collaborations with US-based improvisers—notably trumpeter Don Cherry—bolster arguments for the transnational nature of twentieth-century “American” music. This chapter proposes Vijay Iyer’s notion of “embodied empathy” as a key to understanding the ensemble’s immediate social impact and its lasting historical significance.

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25

Jenkins, Todd S. Free Jazz and Free Improvisation. Greenwood, 2004. http://dx.doi.org/10.5040/9798400653766.

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The free jazz revolution that began in the mid-1950s represented an artistic and sociopolitical response to the economic, racial, and musical climate of jazz and the nation. In parallel with the American civil rights movement, free jazz exemplified an escape from the restrictive rules of musical performance with an emphasis on individual expression and musical democracy. A handful of major individual artists opened the gateway to intense personalization of performances through astonishing new techniques, and inner-city collectives were formed to support artistic experimentation and community education. Reviled by most critics and jazz fans in its nascence, and still highly misunderstood today, free jazz eventually had a profound influence on subsequent developments in jazz and rock, forever changing the musical landscape. Todd S. Jenkins' handy encyclopedia of free music reflects upon the personalities, styles, organizations, philosophy and politics of a musical form to which too little prior attention has been devoted. Directing readers to outstanding recorded performances, it serves as an essential introduction to this difficult but rewarding music, offering a scholarly historical and cultural overview that provides a critical assessment of one of the most misunderstood periods in American music. Filling many gaps left in previously published literature on the subject, Jenkins's work is a necessary addition to the shelves of music libraries and the collections of jazz aficionados alike.

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26

Santoro, Daniella. The Dancing Ground. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.17.

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The performative traditions of New Orleans second line parades offer profound insight into localized expressions of health and disability. As public, festive, and symbolic spaces of music, dance and movement, second lines privilege the body as a site of knowledge production and individual improvisation within a collective tradition. This essay focuses on the relationship between dance and disability as observed during second line parades in New Orleans from 2010 to 2013. The narratives of those participants who are marked as disabled by age or circumstance reveal how the public space of dance and embodied movement at a second line parade enables a rewriting of ableist scripts about the body and its potential. This research focuses on the corporeal landscape and how musical traditions inscribe embodied knowledge, and embolden social commentary on the wider workings of race and disability in contemporary New Orleans.

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27

Hagberg, Garry L. The ensemble as plural subject. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0025.

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Group jazz improvisation at the highest levels can achieve a kind of cooperative creativity that rises above the sum total of the contributions of the individuals. This phenomenon is widely recognized, but has resisted description beyond metaphors that refer to ‘special chemistry’ and the like. Some recent work in the philosophy of social action, on collective intention and group cognition, and on what has been helpfully called a ‘plural subject’, is brought together in this chapter with a close listening to the Stan Getz Quartet’s performance of the classic standard ‘On Green Dolphin Street’. As with discussions of group action in recent philosophical writings, here it emerges that qualities of the improvised performance are not reducible to individuated intentional content, and the notion of the plural subject provides both an analysis of it and the language for it.

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28

Improvisation Starters Revised and Expanded Edition: A Collection of More Than 1000 Improvisation Situations for the Theater. F&W Media, Incorporated, 2016.

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29

Bold Improvisation: Searching for African-American Quilts - The Heffley Collection. Kansas City Star Books, 2007.

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30

Kwame Harrison, Anthony. Research Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371785.003.0002.

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Chapter 2 demystifies practices of ethnographic research by discussing the balance between structure and serendipity surrounding its design. The author pursues this in two ways: first, by discussing the dynamic mode of structured improvisation through which ethnographers perform their research and, second, by introducing a framework for ethnographic decision-making—based on the concept of social science sampling—which highlights many of the major considerations affecting the research choices ethnographers make. Through this discussion, the author illustrates the complementary strategic and improvisational imperatives that in-the-field ethnographers embody. The second part of the chapter is organized around several key phases of the research process including (a) the choice of a research topic; (b) decisions regarding research settings; (c) aspects of data collection—including expanding on the first chapter’s discussions of positionality, fieldnote writing, and interviewing; and (d) techniques and sensibilities through which researchers analyze their data.

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31

Greenland, Thomas H. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0002.

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This book challenges the convenient distinction between jazz musicians and audiences by calling attention to the collaborative interactions of performers with the other “nonperforming” participants. It provides a realistic representation of jazz in New York City by taking a somewhat paradoxical and ironic approach: it examines small, specialized jazz scenes to suggest broad-based patterns of jazz participation while also deemphasizing what is happening on stage in favor of the offstage listeners—in other words, the unseen scene. This introduction provides an overview of research on the themes addressed in the book; the symbiosis and synergism that characterize New York City's jazz scene, particularly the avant-jazz scene; and the ideological debate between essentialist and universalist positions—the former emphasizing African American cultural values and the latter emphasizing multiculturalism, individual merit, and colorblindness. The book's main argument is that jazz's deeper meanings and expressions are conveyed when both artists and audiences participate in collective improvisation.

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32

Midgelow, Vida L., ed. The Oxford Handbook of Improvisation in Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199396986.001.0001.

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Discussing improvisatory activities in dance, this handbook attests to the presence of improvisation in many forms of dance and to the ways improvisation has been developed and employed for far-reaching purposes. The handbook recognizes that improvisation has been a long-standing and central approach within the choreographic process for many dance makers, while for others it is a performance form in its own right. It is also a key feature, though often implicit and overlooked, of most social dance forms and is widely used within therapeutic, educational, and other applied contexts. Accordingly, throughout the handbook examples of improvised dancing from tango to therapy and from contact to ballet are discussed. This breadth has been important in gathering this collection, and it makes evident the presence of improvisation in a wide range of contexts—be it in theatres, community halls, or hospitals. This very breadth expands our vision, such that the nature and significance of the improvisatory can be better understood.

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33

Jong, Jacqueline B. de. Collective Talent: A Study of Improvisational Group Performance in Music. Amsterdam University Press, 2006.

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34

Greenland, Thomas H. Hear and Now. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0008.

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This chapter focuses on the communication between musicians and listeners during jazz performances: how performers engage listeners, how jazz audiences express agency, and how both derive deep meanings from reciprocal interactions that culminate in collective improvisations. The discussion shifts between the views of musician-performers and that of audience-performers, with special attention given to avant-jazz concertgoers. The chapter first considers how jazz musicians engage with lay audiences during performances and how listeners, as coagents and co-performers, engender and elaborate collective sociomusical improvisations. It then describes jazz's extramusical and metaphysical aspects and explains how it derives deep meanings from its racial and cultural heritage. It shows that the realization of jazz's profound intellectual, emotional, aesthetic, and metaphysical “truths” transcends the here/hear and now, the place and time of music-making, to create a temporary state of social and spiritual synergy.

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35

Listen Harder: A Collection of Essays, Curriculum and Memorabilia on Improvisation and Educational Theatre. CreateSpace Independent Publishing Platform, 2014.

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36

MacDonald, Raymond, Maria Sappho, Tia DeNora, Robert Burke, and Ross Birrell. New Directions in Musical Collaborative Creativity. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197752838.001.0001.

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Abstract The COVID pandemic brought numerous challenges for people working in creative contexts. One such example was the Glasgow Improvisers Orchestra (a critically acclaimed and prolific international ensemble), which began twice weekly online workshops at the start of the UK lockdown in March 2020. The group quickly grew, collecting over 100 musicians from around the world who were interested in maintaining contact via improvising on a virtual platform, Zoom. This book explores the nature of the online sessions, investigating psychological and social benefits and the creative breakthroughs achieved during these sessions. With a particular focus on technology and identities, the book sheds new light on the nature of creative activities and their pivotal role in sustaining and enhancing communities in musical and other contexts. Ten chapters explore topics that include an overview of digital music approaches, an investigation of how improvisations begin and end, the unique context of the online sessions, the integration of audio and visual stimuli to produce audiovisual compositions, and new types of creative activities. The book discusses ways in which improvisation (and in particular, online improvising) can be used to foster a new sense of community while offering new possibilities for experimentation, communication, community engagement, education, new virtuosities, health, and well-being. The book also investigates implications for education and health, emphasizing the importance of new technologies and their potential to produce significant creative breakthroughs. It points to a way forward for new types of technologically mediated community creative engagement.

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37

Ben-Hur, Roni. Talk Jazz: A Comprehensive Collection of Be Bop Studies, With Detailed Explanation of Some of Jazz Improvisation's Fundamental Tools. Bohobza Music, 2003.

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38

Anderson, Michael, and Colleen Roche, eds. The State of the Art. Sydney University Press, 2015. http://dx.doi.org/10.30722/sup.9781743320273.

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The State of the Art: Teaching Drama in the 21st Century presents cutting-edge scholarship from leading drama education in New South Wales. This collection features discussions that are directly relevant to drama teachers in primary and secondary schools, artists and theatre makers, drama education researchers and those interested in the relevance of arts and drama education in reforming the curriculum. The book reminds of the connection between practice and research in drama education, and reflects changes in curriculum and new areas of research on: playwriting improvisation and play building young people as audiences technology and drama education dialogue in drama education the opportunities for drama as a curriculum change event The scholarship assembled here reflects some of the best and most insightful reflections on how research can directly inform the transformation of learning and teaching.

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39

Goertzen, Chris. George P. Knauff's Virginia Reels and the History of American Fiddling. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496814272.001.0001.

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George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discusses the life of the arranger. Then it explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. The book describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout, the book connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. The book incorporates performance descriptions and music terminology into his accessible, engaging prose. The book presents an extended look at the history of southern fiddling and a close examination of current practices.

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40

Bishop, Tom, Gina Bloom, and Erika T. Lin, eds. Games and Theatre in Shakespeare's England. Amsterdam University Press, 2021. http://dx.doi.org/10.1017/9789048553525.

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This collection of essays brings together theories of play and game with theatre and performance to produce new understandings of the history and design of early modern English drama. Through literary analysis and embodied practice, an international team of distinguished scholars examines a wide range of games—from dicing to bowling to roleplaying to videogames—to uncover their fascinating ramifications for the stage in Shakespeare's era and our own. Foregrounding ludic elements challenges the traditional view of drama as principally mimesis, or imitation, revealing stageplays to be improvisational experiments and participatory explorations into the motive, means, and value of recreation. Delving into both canonical masterpieces and hidden gems, this innovative volume stakes a claim for play as the crucial link between games and early modern theatre, and for the early modern theatre as a critical site for unraveling the continued cultural significance and performative efficacy of gameplay today.

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41

Improvisation games for classical musicians: A collection of musical games with suggestions for use : for performers, instrumental teachers, music students, music therapists, bands, orchestras, choirs, chamber music ensembles, conductors, composers, pianists, percussionists, and everybody else (even jazz players). Chicago: GIA Publications, 2008.

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