Distributed creativity : collaboration and improvisation in contemporary music / edited by Eric F. Clarke, Mark Doffman.

Format:

Book

Contributor:

Clarke, Eric F., editor.

Doffman, Mark, editor.

UPSO (University Press Scholarship Online)

Series:

Studies in musical performance as creative practice ; volume 2.

Studies in musical performance as creative practice ; volume 2

Language:

English

Subjects (All):

Composition (Music)--Collaboration.

Composition (Music).

Improvisation (Music).

Music--20th century--History and criticism.

Music.

Music--21st century--History and criticism.

Physical Description:

1 online resource (xxvii, 349 pages.)

Place of Publication:

New York, NY : Oxford University Press, [2017]

System Details:

text file

Contents:

Part 1 Frameworks

1 Composer-performer collaborations in the long twentieth century p. 21 / Arnold Whittall

2 The labour that dare not speak its name: musical creativity, labour process and the materials of music p. 37 / Jason Toynbee

3 Distributed cognition, ecological theory and group improvisation p. 52 / Adam Linson and Eric F. Clarke

4 Domesticating gesture: the collaborative creative process of Florence Baschet's StreicherKreis for 'augmented' string quartet (2006-08) p. 70 / Nicolas Donin

Intervention Irvine Arditti: "These four must be stopped' p. 91

5 Cross-cultural collaborations with the Kronos Quartet p. 93 / Amanda Bayley

Intervention Sarah Nicolls: Collaboration: making it work p. 114

6 Fluid practices, solid roles?: The evolution of Forlorn Hope p. 116 / Eric F. Clarke and Mark Doffman and David Gorton and Stefan Östersjö

Intervention James Saunders and Simon Limbrick: surfaces p. 136

7 Composition changing instruments changing composition p. 141 / Christopher Redgate

Intervention Martyn Harry: My Mother Told Me Not To Stare: composition as a collaborative process p. 155

Intervention Jeremy West: The composer in the room: Jeremy West on Martyn Harry with His Majesty's Sagbutts and Cornetts p. 161

8 Negotiations: sound and speech in the making of a studio recording p. 163 / Maya Gratier and Rebecca Evans and Ksenija Stevanovic

Intervention Emily Payne: Recording Paraphrase: a 'social occasion'? p. 181

9 Contemporary Music in Action: performer-composer collaboration within the conservatoire p. 184 / Mark Doffman and Jean-Philippe Calvin

Intervention John Croft: On working alone p. 199

Part 3 Improvisation

Intervention Liza Lim: Knots and other forms of entanglement p. 207

10 (Re-)imagining improvisation: discursive positions in Iranian music from classical to jazz p. 214 / Laudan Nooshin

Intervention Jeremy Thurlow: On the conundrum of composing an improvisation p. 236

11 Improvisation as composition: the recorded organ improvisations of Vierne and Tournemire p. 239 / David Maw

Intervention David Maw with Thierry Escaich: Improvisation and composition in the French organ tradition: an interview with Thierry Escaich p. 267

12 Learning to improvise, improvising to learn: a qualitative study of learning processes in improvising musicians p. 278 / Una M. MaCglone and Raymond A. R. MaCdonald

Intervention Loré Lixenberg: Song p. 295

13 The ensemble as plural subject: jazz improvisation, collective intention and group agency p. 300 / Garry L. Hagberg

Intervention Neil Heyde, Christopher Redgatc, Roger Redgate and Matthew Wright: What is it like to be an improviser? p. 314.

Notes:

Includes bibliographical references and index.

Electronic reproduction. Oxford Available via World Wide Web.

Description based on print version record.

ISBN:

9780199355945

0199355940

Publisher Number:

40027794859

Access Restriction:

Restricted for use by site license.