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Books on the topic 'Improvisation'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

John, Ruediger, ed. Improvisation. New York, USA: [sic!], 1991.

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2

Uitti, Frances-Marie. Improvisation. Abingdon: Routledge, 2006.

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3

Marchelie, Érik. Improvisation. Saint-Romuald, QC: Productions d'Oz, 2006.

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4

Leep, Jeanne. Theatrical Improvisation. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612556.

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5

Dell, Christopher. Prinzip Improvisation. Köln: König, 2002.

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6

Weir, Michele. Vocal improvisation. [Rottenburg N., Germany]: Advance Music, 2001.

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7

N, Kamoche Ken, Cunha Miguel Pina e, and Cunha, Joao Vieira da, 1974-, eds. Organizational improvisation. London: Routledge, 2002.

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8

Johns, Michele. Hymn improvisation. Minneapolis: Augsburg Pub. House, 1987.

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9

Rose, Simon. Relational Improvisation. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003276197.

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10

N, Kamoche Ken, Cunha Miguel Pina e, and Cunha, Joao Vieira da, 1974-, eds. Organizational improvisation. London: Routledge, 2002.

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11

Storch, Christian, ed. Reflexion - Improvisation - Multimedialität. Göttingen: Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2015-844.

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12

Reeves, Scott D. Creative jazz improvisation. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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13

Yoder, M. Daniel. Beginning jazz improvisation. Upper Saddle River, N.J: Prentice Hall, 1996.

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14

Frost, Anthony, and Ralph Yarrow. Improvisation in Drama. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20948-4.

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15

Göttlich, Udo, and Ronald Kurt, eds. Kreativität und Improvisation. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18989-5.

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16

David, Vossebrecher, ed. Improvisation und Organisation. Bielefeld, Germany: transcript Verlag, 2017.

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17

Reeves, Scott D. Creative jazz improvisation. Englewood Cliffs, N.J: Prentice Hall, 1989.

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18

Shawn, Allen. Improvisation no. 3. New York: Galaxy Music, 1987.

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19

Maw, David. Improvisation as composition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0021.

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The close connection between improvisation and composition in the French organ school over several centuries warrants analysis of these practices in similar terms, and the advent of recording has afforded the means for carrying it out. This chapter analyses the work of Charles Tournemire and Louis Vierne, who were amongst the earliest organists to record improvisations. Highly accomplished composers and improvisers, they were also noted teachers, and the terms in which they taught improvisation serve to contextualize analysis of their own practice. Vierne emphasized a schematic approach, while Tournemire focused on spontaneity. This difference is mirrored in the contrast of their compositional styles. However, for both men their improvisational practice demonstrates a need to manifest itself self-consciously by exceeding the bounds of compositional convention.

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20

Gooley, Dana. Saving Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.006.

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This chapter surveys improvisation in the western classical tradition during a period of transition ca. 1800–1830. It considers not only why improvisational practices declined in this period, but also how they were preserved and revalidated in accordance with new musical values. It examines the free fantasies of Johann Nepomuk Hummel, an exceptionally famous composer-virtuoso of this period who was renowned for his improvisational brilliance. Critical responses and public reactions suggest that Hummel’s free fantasies were valued for their capacity to bridge the gap between connoisseurs and dilettantes, as well as the gap between public and private spheres. The chapter reflects on solo improvisation and its relationship to the social significance of improvisation.

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21

Smedberg, Sven, and Derek Bailey. Improvisation. Unknown Publisher, 2020.

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22

Kaul, Albert /. Terha. Improvisation. Schott Music, 2013.

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23

Improvisation. Avalon Publishing, 2000.

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24

Wells, Samuel. Improvisation. SPCK Publishing, 2004.

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25

Stauffer, Sandra. Improvisation. Pearson Education, Limited, 2014.

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26

Walsh, Karis. Improvisation. Bold Strokes Books, 2013.

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27

Rubinel, Michel. Improvisation. Blurb, 2021.

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28

Gagel, Reinhard, and Matthias Schwabe, eds. Improvisation erforschen - improvisierend forschen / Researching Improvisation - Researching by Improvisation. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839431887.

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29

Gagel, Reinhard, and Matthias Schwabe, eds. Improvisation erforschen - improvisierend forschen / Researching Improvisation - Researching by Improvisation. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839431887.

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30

Bill Prinzivalli and Gerard Farias. Improvisational Leaders: Integrating Business, Mindfulness, and Improvisation. Strategic Book Publishing & Rights Agency (SBPRA), 2022.

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31

Gooley, Dana. Liszt and the Romantic Rhetoric of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0006.

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Chapter 5 follows another musician of strong improvisatory inclinations who modified his practice in response to criticism. Unlike Schumann’s more linear development, Liszt’s relationship with improvisation vacillated. Free improvisations were central to his reputation as a child prodigy, yet the more he sought recognition as a composer, the more compelled he felt to rein it in for fear of being judged as superficial. At the same time, George Sand and Heinrich Heine were advancing a positive new vision of improvisation as a privileged, elevated mode of artistic utterance, and Liszt was one of their main exhibits. To an extent matched only by Chopin and Paganini, Liszt gave the impression he was blurring the line between playing a prepared piece and improvising. He thus played a key role in linking improvisational practice with the emerging imaginary ideal of improvisation, while submitting himself to the new order of “works” and “interpreters.”

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32

Gooley, Dana. Fantasies of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.001.0001.

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This book is the first history of keyboard improvisation in European music in the postclassical and romantic periods (c. 1815–1870). Grounded in primary sources, it documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century’s leading improvisers. The book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Its central argument is that amid the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential “idea” of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the “work.”

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33

In the Course of Performance: Studies in the World of Musical Improvisation (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1998.

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34

(Editor), Bruno Nettl, and Melinda Russell (Editor), eds. In the Course of Performance: Studies in the World of Musical Improvisation (Chicago Studies in Ethnomusicology). University Of Chicago Press, 1998.

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35

Schwabe, Matthias, and Reinhard Gagel. Improvisation Erforschen - Improvisierend Forschen / Researching Improvisation - Researching by Improvisation: Beiträge Zur Exploration Musikalischer Improvisation / Essays about the Exploration of Musical Improvisation. Transcript Verlag, 2016.

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36

Improvisation Erforschen Improvisierend Forschen / Researching Improvisation Researching by Improvisation: Beiträge Zur Exploration Musikalischer Improvisation / Essays about the Exploration of Musical Improvisation. Transcript Verlag, 2016.

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37

Kamoche, Ken, and Miguel Pina e. Cunha. Organizational Improvisation. Taylor & Francis Group, 2003.

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38

Kamoche, Ken, and Miguel Pina e. Cunha. Organizational Improvisation. Taylor & Francis Group, 2003.

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39

Ashley, Richard. Musical Improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780198722946.013.56.

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40

Ashley, Richard. Musical improvisation. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.

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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.

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41

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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42

Kraut, Anthea. Fixing Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.015.

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This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

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43

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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44

Applied Improvisation. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350014404.

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45

Cunha, Miguel Pina E., Miguel Pina E. Cunha, and Ken Kamoche. Organizational Improvisation. Routledge, 2003. http://dx.doi.org/10.4324/9780203361603.

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46

Organizational improvisation. London: Routledge, 2001.

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47

Lowe, Robert. Improvisation, Inc. Blackstone Audiobooks, 2001.

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48

stoloff-bob-feist. vocal-improvisation. FisicalBook, 2022.

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49

Free Improvisation. Alphascript Publishing, 2009.

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50

Piano Improvisation. Lulu Press, Inc., 2016.

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