Academic literature on the topic 'Meaning of improvisation'
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Journal articles on the topic "Meaning of improvisation"
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Reardon-Smith, Hannah, Louise Denson, and Vanessa Tomlinson. "FEMINISTING FREE IMPROVISATION." Tempo 74, no. 292 (March 6, 2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Gilbertson, Simon. "Improvisation and meaning." International Journal of Qualitative Studies on Health and Well-being 8, no. 1 (January 2013): 20604. http://dx.doi.org/10.3402/qhw.v8i0.20604.
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Kirmayer, Laurence J. "Improvisation and authority in illness meaning." Culture, Medicine and Psychiatry 18, no. 2 (June 1994): 183–214. http://dx.doi.org/10.1007/bf01379449.
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Kirmayer, Laurence J. "Improvisation and authority in illness meaning." Culture, Medicine and Psychiatry 18, no. 4 (December 1994): 515. http://dx.doi.org/10.1007/bf01565854.
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Engelsrud, Gunn. "Teaching Styles in Contact Improvisation: An Explicit Discourse with Implicit Meaning." Dance Research Journal 39, no. 2 (2007): 58–73. http://dx.doi.org/10.1017/s014976770000022x.
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Since contact improvisation was “invented” in North America in the 1970s, it has gained widespread acceptance; teachers have been travelling extensively to conduct seminars and workshops. The dance form has been documented and researched from several viewpoints, but, as I see it, there is general agreement among practitioners and scholars—including United Kingdom-based Helen Thomas (2003), Norway-based Hilde Rustad (2006) and Eli Torvik (2005), and Cynthia Novack (1990), who worked in the United States—that contact improvisation is a form of nonhierarchical relations that entails an appeal to accept mutual responsibility for each other and that also implies a specific lifestyle. In her book Sharing the Dance: Contact Improvisation and American Culture, Novack, as an anthropologist, perceives contact improvisation as embodied culture where the movements are central constitutional parts. Her position is that through the study of contact improvisation, “the history of the dancing serves as a vehicle for investigating powerful interrelationships of body, movement, dance and society” (8).
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Merlino, Julio. "Coherence and Musical Meaning in Jazz Improvisation." Latin American Journal of Development 3, no. 4 (July 2, 2021): 1707–15. http://dx.doi.org/10.46814/lajdv3n4-002.
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In the context of improvised music, and more specifically in jazz—a situation in which at least part of the musical “work” is created at the moment it is perceived—the performers find themselves in an ambivalent condition: like their listeners at the same time they perform the music they experience it for the first time. Improvisers experience the musical content they produce in the act of improvisation as an improvised part of a “work”—an update of it. The “work”, in this case, reveals itself at the moment of performance. In this work I discuss the understanding of musical coherence in order to
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Van Nort, Doug. "Distributed Listening in Electroacoustic Improvisation." Leonardo Music Journal 26 (December 2016): 35–38. http://dx.doi.org/10.1162/lmj_a_00965.
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This article considers the distributed role that listening plays for both performer and audience in the process of discovering musical meaning in the context of electroacoustic improvisation through examination of particular emergent practices.
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Gratier, Maya, and Julien Magnier. "Sense and Synchrony: Infant Communication and Musical Improvisation." Intermédialités, no. 19 (October 9, 2012): 45–64. http://dx.doi.org/10.7202/1012655ar.
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This paper explores the forms and functions of synchrony in two communicative contexts: jazz musicians’ performances and vocal communication between mothers and infants. We present the view that musical expression is first and foremost a form of communication, involving socially distributed practices that enable a coordination of ideas, intentions and meanings. We report on studies in developmental psychology that have highlighted infants’ early abilities to connect with others. Synchrony is quite possibly the most fundamental of these abilities, enabling flexible and affectionate social encounters. We go on to argue that synchrony grounds meaning and culture within interpersonal processes. Synchrony is, at heart, a semiotic process which can readily do without language.
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박미경. "Why 'Improvisation' Matters?: Meaning and Value of the Improvisation Emerged in the Age of Creativity and Convergence." Music and Culture ll, no. 39 (September 2018): 33–59. http://dx.doi.org/10.17091/kswm.2018..39.33.
Full textDissertations / Theses on the topic "Meaning of improvisation"
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Warren, Jeffrey Russell. "Musical experience and human relationships : meaning, improvisation, and ethics in music." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530787.
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Hiller, James. "Theoretical Foundations for Understanding the Meaning Potentials of Rhythm in Improvisation." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126076.
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Music TherapyPh.D.
This study is a theoretical inquiry into the meaning potentials of rhythm in improvisation, with implications for improvisational music therapy. A review of music therapy literature regarding assessment and treatment reveals that improvisation is a widely applied music therapy method, but that rhythm--found universally in all forms of clinical improvisational processes--has received little attention. Theories from the areas of music philosophy, psychology of music, social psychology of music, musicological studies of jazz, and music therapy are explicated and implications for potential meanings of rhythm for improvisation and improvisational music therapy are described. Concepts that are foundational to the ways that the various theories find meaning in music include symbolism, metaphorical conceptualization, and interpersonal interactions. Theoretical foci for analysis include improvised rhythm (i.e., the rhythmic products), an improviser or co-improviser's processes while playing, and the perspective of a listener. Differences between solo improvisation and co-improvisation processes are considered. An integral theory of rhythm in improvisation is proposed along with clinical implications. Potential benefits of the study for music therapy and musicology are proposed and considerations for future investigations regarding the topics of rhythm and improvisation are articulated.
Temple University--Theses
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Bingham, Robert. "Improvising Meaning in the Age of Humans." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/450625.
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DancePh.D.
This dissertation is an ecological philosophy rooted in dance as a somatic mode of knowing and as a way of perceiving the world through and as movement. It is phenomenological, drawing meaning from a dedicated practice of improvisational dance and from extensive dialogue with dance and somatics artist/philosopher Sondra Horton Fraleigh. This emergent knowledge is integrated into discourses and practices addressing the relationship of the human and more than human world in the context of a deepening environmental crisis in the 21st century. Employing both somatic and conceptual ways of knowing, I investigate dance as a tool for restoring a sense of ecological kinship with nonhuman co-habitants of planet Earth. The pretext for the dissertation is the emerging concept of the Anthropocene, a term introduced by Paul Crutzen in the early 2000s which defines human activity as the dominant geophysical force affecting the movements of the Earth system, including weather patterns and chemistries of soil, air and water. This concept, while subject to debate both in and out of the sciences, highlights the entanglement of humans and Earth and calls into question anthropocentric notions placing humans at the center of the universe of significance and meaning. In light of growing challenges associated with the Anthropocene, including climate change and mass extinction, the dissertation makes a case for greater inclusion of ecological and environmental contexts in dance studies scholarship as an epistemological move towards increasing reciprocity with Earth. I argue that environmental crisis, while daunting, presents an opportunity for radical creativity in re-thinking the interconnected movements of human bodies and planet Earth. In summer 2015, I conducted a one-month, fieldwork-based interview with Fraleigh, which included verbal dialog, dancing, and exploration of the landscape of southern Utah, where she lives following retirement from university teaching. Fraleigh, whom I had known personally and professionally for twelve years since studying with her as an MFA student in the early 2000s, is a dance artist, philosopher and somatic educator widely known within and outside the academic dance community for her writing and teaching in phenomenology, dance aesthetics, somatics, and butoh. Her decades of inquiry into the nature and meaning of dance and human embodiment have consistently included questions about the relationship of humans and nature, and she has argued that humans are ecological as well as cultural beings. Through collaborative somatic and intellectual processes, we extended questions we shared about the relationship of humans with Earth through its contextualization within the emerging paradigm of the geologic Age of Humans. The dissertation is organized into two parts. Part One describes the onto-epistemological context for the fieldwork I conducted in Utah and includes background literature on the subjects of body, perception, matter and environmental ethics, followed by an explanation of the research methodologies I employed. Part Two is a phenomenological account of the fieldwork, which spirals between thick description of specific experiences and theoretical reflections on emergent meanings. Through this format, I integrate somatic and conceptual ways of knowing and illuminate dance as a mode of meaning making and response to geologic transformations taking place on Earth. By engaging dance as a tool for thinking about and with the Anthropocene, I aim to promote more scholarly inquiry into ways that dance can and does transform, heal, revitalize and aestheticize human-Earth relations in the context of a planet in crisis.
Temple University--Theses
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Yeboah, Amy Oppong. "(Re)inscribing Meaning: An Examination of the Effective Approaches, Adaptations and Improvisational Elements in Closing the Excellence Gap for Black Students." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/224585.
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African American StudiesPh.D.
From great African nations like the Ancient Kemites, Akan and Gikuyu, the world witnessed the development of the most powerful social structures, governance systems, ground breaking innovations in science and technology, and systems of thought that still exist today. Hence, in looking at the low performance levels of Black students today, the question becomes, how do the descendants of those who created writing, mathematics, and science; and then in the face of episodic disruptions laid their lives on the line to read, write, and built public schools, Sabbath schools, and Historically Black Colleges and Universities, close the excellence gap between their actual performance and deeply rooted cultural expectations? The present study reviews the essential questions and proposed solutions for closing the excellence gap that have been offered by previous generations of scholars. Africana Studies methodological framing questions were used to examine the long-view experiences of African people as well as a three tier critical ethnographic research methods approach. The study revealed that Black students gained a level of excellence in the face of disruption through: (1) Collective Training, (2) Spiritual and Moral Balance, and (3) Content Mastery. The prerequisite for sustaining educational excellence was found to be in the individual roles female and male representatives play as the primary educators of Black children. Secondly, nurturing a sense of identity through a spiritual understanding of social order and moral responsibility to the collective is also a requirement. Nevertheless, what unites and emerges as the chief element is content mastery. The ability to retain and keep content through listening and reading; and present a level of mastery on that information through speaking, writing and action to solve problems, completes the reciprocal process of educational excellence.
Temple University--Theses
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Matulíková, Věra. "Metodické přístupy k výuce improviazace na základních uměleckých školách." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-411852.
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This work deals with the teaching of improvisation in basic art schools. It describes the contribution and signifikance of improvisation in the pupil's life, in his musical development. The aim of this work is to focus on the practical aspects of piano teaching, both from the pupil's point of view (pupil's musical needs, difficulties) and from the teacher's point of view. The work refutes the opinion that improvisation is conditioned by special, individual talent, but emphasizes that a suitable approach and methodology can develop improvisation in each student. The work also deals with some of the possible difficulties in learning to play the piano, and these are stress and tremor and musical dyslexia. Work connects both of these phenomena with the ability to improvise and shows how improvisation can have a positive effect on these learning difficulties. Another goal of this work is to map the current state of teaching improvisation in our basic art schools. For this purpose, a questionnaire was created addressing teachers throughout the Czech Republic. The aim of the questionnaire was to find out the state of teaching improvisation at basic art schools, the content of teaching improvisation, the individual time allowance of this teaching and the materials used to teach improvisation. The work...
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Barclay, Vaughn. "Patterns Perceptible: Awakening to Community." Thesis, 2012. http://hdl.handle.net/10214/3656.
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This paper interweaves narrativized readings and experiential narratives as personal and cultural resources for counterhegemonic cultural critique within our historical context of globalization and ecological crisis. Framed by perspectives on epistemology, everyday life, and place, these reflections seek to engage and revitalize our notions of community, creativity, and the individual, towards visioning the human art of community as a counternarrative to globalization. Such a task involves confronting the meanings we have come to ascribe to work and economy which so deeply determine our social fabric. Encountering the thought of key 19th and 20th century social theorists ranging from William Morris, Gregory Bateson, and Raymond Williams, to Murray Bookchin, Martin Buber, and Wendell Berry, these reflections mark the indivisible web of culture in the face of our insistent divisions, and further, iterate our innate creativity as the source for a vital, sustainable culture that might reflect, in Bateson’s terms, the pattern that connects.
Books on the topic "Meaning of improvisation"
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Prévost, Eddie. Minute particulars: Meanings in music-making in the wake of hierarchical realignments and other essays. Matching Tye: Copula, 2004.
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Rothenberg, David. Interspecies Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.23.
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The concept of “interspecies improvisation” is introduced as a way to communicate by using music from the human species with other musical species, especially those with creative and complex songs such as catbirds, nightingales, and whales. Just as musicians from one culture can jam with people from other cultures with whom they might not be able to speak, spontaneous creativity in music can dare to make the leap between one animal and another. If performer and listener alike take improvisation seriously as a compositional tool, then such music ought to be taken seriously. And because music communicates in emotional ways we can never quite explain, interspecies improvisation may be a promising way to communicate with creatures with whom we cannot speak. Sonograms of two specific duets, one between clarinet and white-crested laughing thrush, another between clarinet and humpback whale, are analyzed in terms of identifying musical order and meaning. In conclusion it is suggested that making music with other species is one way to make nature more valuable and more worthy of our care and attention.
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Racy, A. J. Musical Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.23.
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This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation in terms of two broadly conceived yet closely interconnected realms, musical artistry and cultural interpretation. Examples from different world contexts are presented with emphasis on the author’s area of expertise, especially the Arab World, Turkey, and Iran. Topics addressed include musical mode, emotion, ecstasy, and the cultural values and meanings attached to improvisatory practice. Cross-cultural musical fusions are closely studied. Through analysis of specific performance events, this research highlights the symbolic, social, political, and ideological meanings as well as the improvisatory artistry.
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Alperson, Philip. Musical Improvisation and the Philosophy of Music. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.001.
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This chapter argues that the prevailing orienting concepts and tenets of contemporary philosophy of music—the centrality of aesthetic objects, the assumption of the mono-functionality of music, the paradigm of European classical music, and the spectatorialist perspective—do not provide the basis for an adequate understanding of musical improvisation. The essays calls for a more robust philosophical consideration of the gamut of improvisational activity, including the aesthetic aspects of musical improvisation, the range of musical and social skills made manifest by improvisers, and the deeper social meanings of the practice, including the implicit reference to human freedom and situated meanings that arise from the national, ethnic, racial, gendered, and socio-economic contexts in which the music arises. Such a view would be theoretically nuanced, empirically informed, phenomenologically sensitive, and ineliminably indexed to the manifold ways in which improvised music situates itself in the complex of human affairs.
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Chodat, Robert. Sociology to the Scientists. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682156.003.0004.
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Unlike Percy and Robinson, Ellison shows minimal interest in religious questions, and in this sense can be seen as part of a larger anticlerical project among some twentieth-century African-American writers. Unlike many other secular black intellectuals, however, he scorns the social sciences. His nonfiction repeatedly distinguishes meaning from matter, purposeful action from bodily motion, and continually highlights both “improvisation” and “black and white fraternity”—concepts that align him both with the pragmatism of his mentor Kenneth Burke and place him in a longstanding tradition of republican sociopolitical thought. His fiction, however, repeatedly emphasizes just how vexed such terms are in the context of modern American life. Invisible Man portrays a world governed unrelentingly by determinism and social–scientific theorizing, and his second novel went unfinished in part because he struggles to portray the mutual recognition that his essays insist is needed between black and white culture.
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Feisst, Sabine. Negotiating Freedom and Control in Composition. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.005.
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This chapter discusses the many meanings of improvisation and free improvisation in Western classical music from 1950 to 1980 and examines criteria for improvisation, composition, and performance. It investigates concepts related to improvisation such as indeterminacy, chance, aleatory, open form, minimal music, and experimental music. Discussion focuses on the terminology, ideas, and selected works of Anthony Braxton, André Boucourechliev, Pierre Boulez, John Cage, Cornelius Cardew, Alvin Curran, Franco Evangelisti, Vinko Globokar, Roman Haubenstock-Ramati, Joëlle Léandre, Witold Lutosławski, Pauline Oliveros, Terry Riley, Karlheinz Stockhausen, Richard Teitelbaum, Frances-Marie Uitti, La Monte Young, and Pamela Z. Finally, it considers the role of composers and performers works involving improvisation, the improvisers’ relationship to the audience, and role of listeners in performances of improvised music.
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Pierrepont, Alexandre. The Salmon of Wisdom. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.28.
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This chapter scrutinizes the universe of representations of creative musicians, especially in the combinatorial and transformative dynamics of the jazzistic field. The poetics of improvisation encompasses both analytical analogical thought, through a dialogic treatment of oppositions rendered complementary, while allowing the discovery and practice of one’s own plurality: one’s self and self’s other. For improvisers, a continuum of multiple meanings may be played out in and around oneself, without abdicating clarity of conscience or the acuity of contexts and structures. In the act of improvisation, placing oneself in streams of unconsciousness and hyperconsciousness, as well as double and multiple consciousness, poses critical questions around the changing nature of identities and alterities.
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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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Parau, Cristina E. Transnational Networking and Elite Self-Empowerment. British Academy, 2018. http://dx.doi.org/10.5871/bacad/9780197266403.001.0001.
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Studies of the fate of Judiciaries in post-Communist Central and Eastern Europe (CEE) have been rare and attempts at causal explanation rarer. This study found that interlocked transnational networking empowered a minority of elite Judiciary revisionists to entrench their institutional template in Eastern European constitutions, setting these transitional democracies on a trajectory toward a global trend of the judicialization of politics. The first, crucial step in that process is traced: the formal disempowerment of democracy through Judiciary revisions that ordinary people and politicians in Central and Eastern Europe little heeded. The causal nexus converging on this outcome is explained. Why it matters is because the revisionist template reorients that most venerable of non-majoritarian institutions beyond adjudication of the guilt or innocence of subjects of state power under legal certainty – the classical role of modern courts – toward the improvisation of public policy, with or without the consent of the majority of the governed, by ‘finding’ it in constitutions; the unique legitimacy of which derives from the prior ratification of a supermajority. The question of who shall have the final disposition of contested constitutional meaning – the Executive, Legislature, Judiciary, the People, or All of these – implicates sovereignty itself and whom it shall rest on: the last word is sovereign for practical purposes. The interdisciplinarity of this study will appeal to a wide audience: scholars of law and politics and socio-legal studies, social scientists researching elite transnationalism and European integration beyond the EU, even institutional design practitioners.
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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.
Book chapters on the topic "Meaning of improvisation"
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Frost, Anthony, and Ralph Yarrow. "Meaning and Performance." In Improvisation in Drama, 165–81. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20948-4_10.
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Frost, Anthony, and Ralph Yarrow. "Enriching the Communication of Meaning." In Improvisation in Drama, 144–64. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20948-4_9.
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Frost, Anthony, and Ralph Yarrow. "Meaning and Performance." In Improvisation in Drama, Theatre and Performance, 230–46. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-34812-8_11.
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Frost, Anthony, and Ralph Yarrow. "Enriching the Communication of Meaning." In Improvisation in Drama, Theatre and Performance, 217–29. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-34812-8_10.
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Borgo, David. "Sync or Swarm: Musical Improvisation and the Complex Dynamics of Group Creativity." In Algebra, Meaning, and Computation, 1–24. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11780274_1.
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Herttua, Timo, Elisa Jakob, Sabrina Nave, Rambabu Gupta, and Matthäus P. Zylka. "Growth Hacking: Exploring the Meaning of an Internet-Born Digital Marketing Buzzword." In Designing Networks for Innovation and Improvisation, 151–61. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42697-6_15.
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Dahlstedt, Palle. "Dynamic Mapping Strategies for Expressive Synthesis Performance and Improvisation." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music, 227–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_16.
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Zwiep, Irene. "9. Where Sound and Meaning Part." In Images, Improvisations, Sound, and Silence from 1000 to 1800, edited by Babette Hellemans and Alissa Jones Nelson, 177–88. Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048529186-012.
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Olsson, Ulf. "Crashes in Space: Aspects of Improvisation." In Listening for the Secret. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520286641.003.0004.
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Improvisation in the Grateful Dead consists of simultaneously following impulse and taming impulse. But in the absence of the band, their improvisations now exist only in fixed, recorded form, meaning that aspects of improvisation are lost: uniqueness and presence are transformed into repeatability. Still, improvisation by the Grateful Dead originally took on the form of resistance against the culture industry, and the Dead came to use delay in improvisation as a way to refuse fixation of the song performed. Most of all, improvisation served as a method for losing ego, in a dialectic of preservation and destruction, of memory and forgetfulness. Improvisation provided a way for the band to produce presence, as well as a central method for the band’s formation of its music into a montage.
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"Making music together, or improvisation and its others." In Music, Performance, Meaning, 321–41. Routledge, 2017. http://dx.doi.org/10.4324/9781315090757-16.
Full textConference papers on the topic "Meaning of improvisation"
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Michalec, Lukasz, and David A Banks. "Information Systems Development Methodologies and all that Jazz." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2805.
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This paper explores the relationships between jazz and the development of information systems. Similarities are drawn between music in general and information systems development methodologies and jazz is taken as a specific focus. The idea of music as an information system in its own right is outlined. As systems development methodologies move from formal approaches towards more ad hoc forms, the lessons that can be learned from jazz, such as improvisation and shared meaning, may become increasingly useful.