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oapen-20.500.12657-31169
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dspace
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oapen-20.500.12657-311692021-11-15T08:21:28Z The Field of Musical Improvisation Cobussen, Marcel complexity theories new materialism music philosophy music ecology bic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology The central aim of this book is to present a new approach to “the field of musical improvisation” (FMI), a theory which understands improvisation as a nonlinear dynamic and complex system. The study provocatively argues that during an improvisation more actants are “at work” than musicians alone: space, acoustics, instruments, audience, technicians, musical and socio-cultural backgrounds, technology, and the like all play a significant role. However, not all of these actants determine every improvisation to the same extent; some are more prominent and active than others in certain situations (periods, styles, cultures, as well as more singular circumstances). Therefore, the FMI theory will prove to be more than a theory dealing with improvisation “in general”. Rather, FMI emphasizes singularity: each improvisation thus yields a different network of actants and interactions, a unique configuration or assembly. 2017-09-01 23:55:55 2018-12-04 11:08:49 2020-04-01T13:26:00Z 2020-04-01T13:26:00Z 2017 book 637220 OCN: 1012401479 9789400603011 http://library.oapen.org/handle/20.500.12657/31169 eng application/pdf Attribution-NonCommercial 4.0 International 637220.pdf https://www.lup.nl/product/field-musical-improvisation/ Leiden University Press 10.24415/9789400603011 10.24415/9789400603011 276c53fd-5f1d-4065-9fce-9628863ddca8 9789400603011 open access
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OAPEN
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English
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| description |
The central aim of this book is to present a new approach to “the field of musical improvisation” (FMI), a theory which understands improvisation as a nonlinear dynamic and complex system. The study provocatively argues that during an improvisation more actants are “at work” than musicians alone: space, acoustics, instruments, audience, technicians, musical and socio-cultural backgrounds, technology, and the like all play a significant role. However, not all of these actants determine every improvisation to the same extent; some are more prominent and active than others in certain situations (periods, styles, cultures, as well as more singular circumstances). Therefore, the FMI theory will prove to be more than a theory dealing with improvisation “in general”. Rather, FMI emphasizes singularity: each improvisation thus yields a different network of actants and interactions, a unique configuration or assembly.
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| title |
637220.pdf
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| spellingShingle |
637220.pdf
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| title_short |
637220.pdf
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| title_full |
637220.pdf
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| title_fullStr |
637220.pdf
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| title_full_unstemmed |
637220.pdf
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| title_sort |
637220.pdf
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| publisher |
Leiden University Press
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| publishDate |
2017
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| url |
https://www.lup.nl/product/field-musical-improvisation/
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| _version_ |
1771297402927448064
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