Improvisation and Social AestheticsGeorgina Born, Eric Lewis, Will Straw Addressing a wide range of improvised art and music forms—from jazz and cinema to dance and literature—this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities. Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoë Svendsen, Darren Wershler |
Contents
Improvised Music | |
Improvisation Performance | |
Rich | |
GENRE AND DEFINITION | |
What Is Great Black Music? The Social Aesthetics | |
Kenneth Goldsmith and Uncreative Improvisation | |
SOCIALITY AND IDENTITY | |
Whats Love Got to Do with It? Creating Art Creating | |
Beneath | |
PERFORMANCE | |
Contact Improvisation Mobile | |
References | |
Contributors Biographies | |
Other editions - View all
Common terms and phrases
AACM AACM in Paris Accessed March 13 actors aesthetic experience African American analysis argues arrangement artistic audience members bands Billy Strayhorn Black Music Bourriaud Cambridge chapter Chicago cinema Clooney collaboration composer Compton concept contact improvisation contemporary context created creative critical critique cultural dance dancers discourse Duke Ellington Ellington ensemble experimental experimental music film filmmakers Flamingo free jazz gender genre Georgina Born Godard hip hop hooks hooks’s identity improvisatory improvised music individual IntuiTweet Kenneth Goldsmith Kenny G Lewis listening microsocialities movement musical improvisation musical practices musicians notion Nouvelle Vague objects one’s Oxford participation performance perspective play political popular music produced queer Rancière recordings relational aesthetics relationship role sense social aesthetics social relations solo song sonic sound space Strayhorn structure theater theatrical theory traditional transformation Tuxedo Junction Twitter uncreative University Press visual vocal WFMU writing York