| Description |
1 online resource |
| Series |
Studies in musical performance as creative practice ; volume 2 |
|
Studies in musical performance as creative practice ; volume 2.
|
| Contents |
Cover -- Distributed Creativity -- Copyright -- Contents -- List of contributors -- List of examples -- List of figures -- List of tables -- List of website audio examples -- List of website image examples -- List of website video examples -- About the Companion Website -- Introduction and overview -- Part 1 Frameworks -- 1 Composerâ#x80;#x93;â#x80;#x8B;performer collaborations in the long twentieth century -- 2 The labour that dare not speak its name: musical creativity, labour process and the materials of music |
|
3 Distributed cognition, ecological theory and group improvisation4 Domesticating gesture: the collaborative creative process of Florence Baschetâ#x80;#x99;s StreicherKreis for â#x80;#x98;augmentedâ#x80;#x99; string quartet (2006â#x80;#x93;â#x80;#x8B;08) -- Part 2 Collaborations -- Interventionâ#x80;#x82;Irvine Arditti: â#x80;#x98;These four must be stoppedâ#x80;#x99; -- 5 Cross-â#x80;#x8B;cultural collaborations with the Kronos Quartet -- Interventionâ#x80;#x82;Sarah Nicolls: Collaboration: making it work -- 6 Fluid practices, solid roles?: The evolution of Forlorn Hope -- Interventionâ#x80;#x82;James Saunders and Simon Limbrick: surfaces |
|
7 Composition changing instruments changing composition Interventionâ#x80;#x82;Martyn Harry: My Mother Told Me Not To Stare: composition as a collaborative process -- Interventionâ#x80;#x82;Jeremy West: The composer in the room:Â Jeremy West on Martyn Harry with His Majestyâ#x80;#x99;s Sagbutts and Cornetts -- 8 Negotiations: sound and speech in the making of a studio recording -- Interventionâ#x80;#x82;Emily Payne: Recording Paraphrase:Â a â#x80;#x98;social occasionâ#x80;#x99;? -- 9 Contemporary Music in Action: performerâ#x80;#x93;â#x80;#x8B;composer collaboration within the conservatoire |
|
Interventionâ#x80;#x82;John Croft: On working alonePart 3 Improvisation -- Interventionâ#x80;#x82;Liza Lim: Knots and other forms of entanglement -- 10 (Re-â#x80;#x8B;)imagining improvisation: discursive positions in Iranian music from classical to jazz -- Interventionâ#x80;#x82;Jeremy Thurlow: On the conundrum of composing an improvisation -- 11 Improvisation as composition: the recorded organ improvisations of Vierne and Tournemire -- Interventionâ#x80;#x82;David Maw with Thierry Escaich: Improvisation and composition in the French organ tradition: an interview with Thierry Escaich |
|
12 Learning to improvise, improvising to learn: a qualitative study of learning processes in improvising musicians Interventionâ#x80;#x82;Loré Lixenberg: Song -- 13 The ensemble as plural subject: jazz improvisation, collective intention and group agency -- Interventionâ#x80;#x82;Neil Heyde, Christopher Redgate, Roger Redgate and Matthew Wright: What is it like to be an improviser? -- Notes |
| Summary |
Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers. The thirteen chapters and twelve shorter Interventions of Distributed Creativity explore the ways in which collaboration and improvisation enable and constrain creative processes in contemporary music |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from PDF title page (EBSCO, viewed November 7, 2017) |
| Subject |
Composition (Music) -- Collaboration.
|
|
Improvisation (Music)
|
|
Music -- 20th century -- History and criticism.
|
|
Music -- 21st century -- History and criticism
|
|
MUSIC -- Instruction & Study -- Theory.
|
|
Composition (Music) -- Collaboration
|
|
Improvisation (Music)
|
|
Music
|
| Genre/Form |
Criticism, interpretation, etc.
|
| Form |
Electronic book
|
| Author |
Clarke, Eric F., editor.
|
|
Doffman, Mark, editor.
|
| ISBN |
9780199355938 |
|
0199355932 |
|
9780199355945 |
|
0199355940 |
|
9780199355945 |
|
