Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( (c) Oxford University Press, 2015. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy).

date: 23 August 2017

(p. 553) Index

ABA improvisation,45–46
Ableton Live,508
Abrams, Muhal Richard,88, 206, 209–10
abstract expressionist painting,289, 293
of change,235
contact improvisation and,298
of contingency,228, 231, 236
of limitations,228
acoustic intensity,47, 51
action understanding,81–83
auditory and visual processing and,81–82
empathy and,81
music cognition and,87
recorded music and,82–83
gender as,8
improvisation as,16
music as,83
musical composition as,5, 426–29, 432
actor-network theory (ANT),15, 91–93, 102–3
actor/system quandary,91
Adhocism: The Case for Improvisation (Jencks),5
Adolfo und Maria,315
Adorno, Theodor,3, 144, 433n8
on art and happiness,439, 448–49
critiques of jazz,10, 25n61, 135, 228,
on essays,228–29
musical improvisation criticized by,199, 420, 427
criminal aestheticism,136
of birds,501
black vernacular,349n8
computer algorithms and,18
economics and,399–400
of genius,7
happiness and,449–50
of humpback whales,517
of imperfection,4, 7, 26n77
of improvisation,184, 345, 424–26
improvised poetry and,240, 242, 248, 268
of indeterminacy,294
life and,440–41
mono-functionality,423, 432
the musical object and,421–22
of the new (modernism),196
of perfection and imperfection,4–5
personal aesthetics and,399–400
of presence,155
Ryle’s disdain for philosophical,419–20
of social dance,331, 333
of spontaneity,347–48
Stendhal’s conception,448
African Americans
le champ jazzistique and,203
black social self and,330
copyright and vernacular dance of,332, 339–41, 345–48
cultural tropes and styles,6, 13
improv comedy problems with representation of,357
social dance and improvisation of,330–38
vernacular dance of,332, 339–41, 345–48
African rice (Oryza glaberrima),368–70, 373, 377
Afrological,205, 207, 431
(p. 554) agency,92, 96–100. See also collective agency; distributed agency; political agency
Amistad mutiny and,380
cognition and,106n21
computer-interactive improvisation and,101
in electro-acoustic music,100–101
environment and,96
fatalism and,378–80
grid-group dispositions and,378–80
the improvisative and,123
institutional forces and,378
intention and,95–96
interagency,96, 103
levels of human,97
musical improvisation and technology’s impact on,95
software and,96–97
Agents Against Agency,96
agile project management (APM),16
Agre, Philip,15–16
agreement, improv comedy and,355–56
Agricola, Rudolph,280–81
Ishmael Houston-Jones’ discussion of,309–10, 319–20
queer time and,320–21, 323–24
Alciati, Andrea,272, 273f, 274f, 275f, 276f, 277, 280
Ali, Ben,174
allographic work,190
A Love Supreme (John Coltrane),206
Amadeus (music software),508–9, 509f
Amateur Night, Apollo Theater,458–59
Amistad mutiny,379–80
Amplified Gesture,95
amygdala,47, 48
Andresen, Julie Tetel,131
Aneau, Barthélemy,272, 276–77
Angelus Novus (Klee),453
Anglophone philosophy of music,421–23
anoriginal criminality, law and,128, 136
Ansari, Daniel,58–61, 63
anterior cingulate cortex (ACC),59
anticipation,116–22, 147–55
in improvisation,448–49, 492–93
ants, musical improvisation and,91–92, 102–3
Apollo Theater,458–59, 471
Aquinas, Thomas,197
Arendt, Hannah,189, 191–92, 195–96, 199
Aristotle,161, 243–44
Armstrong, Louis,432
Arnaud, François,243–45
improvisation in management threatened by,390–91, 393
musical improvisation and,45–47, 51
Adorno on happiness and,439, 448–49
criteria for work of,423, 434n16
life and,298, 477
presence seized by,271
Artaud, Antonin,203–4, 210
Ashkenazy, Vladimir,426
Asian rice (Oryza sativa),368–70, 377
Association for the Advancement of Creative Musicians (AACM),173, 199n1, 203
associative generation,41, 43, 45, 50
Atkins, Cholly,346–47
attention.See also group attention
arousal and,391
brain activity and,58, 61–62, 64, 66
IOFP model and,43–45, 50
in musical improvisation,40–41, 45, 193–95, 449, 489–94
phenomenology of,442–46
Stoic view of,6
uncertainty and,50
in yoga,217, 219
aural mirroring,76
African American musical experience and,431
in improvised dance,314
in improvised theater,355
(p. 555)
Heidegger’s critique of,134
poetic improvisation and,240–41, 246, 250
political improvisation and,168
rhetoric and,265
authorship,8, 98, 100–101, 236, 348
copyright and,339–40
autographic work,190
automatism,293, 300
automatic writing,203, 205, 207, 213n21
in computer systems,96
in performance,40, 97
autonomic nervous system,43
autopoietic system,291
Aviance, Kevin,325
awareness,7, 49, 80, 97, 183, 195, 277, 486
autism and,497n27
dance improvisation and292–93, 297–300
ensemble improvisation and,293
self-awareness,222, 272
in yoga,217–18
Ayler, Albert,154, 206
Bach, Johann Sebastian,59, 239, 371, 419, 469, 371
Bailey, Derek,3, 160, 168, 402
on the celebration of the moment,11
on idiomatic and non-idiomatic music,9, 168, 178n15
interest in Husserl,23n25
views on documentation,348n6
Baker, Josephine,349n14
Banes, Sally,299
Barrett, Frank,14, 26n77
Barth, Karl,542, 543
Barthes, Roland,79, 144, 200n6
Bartky, Sandra Lee,360
Bates, Django,403
Bateson, Gregory,183–84, 290–92, 294, 300, 301n16
Baudelaire, Charles,209, 302n22
Baudrillard, Jean,164
Beat poetry,289
bebop,289, 405
Beckett, Samuel,129
Beethoven, Ludwig van,1, 57, 186, 188, 424, 425, 474
spiritual exercises and,524
“Before the Law” (Kafka),115–16, 121
beginnings, in musical improvisation,191–92, 195–96, 408, 445, 448
Being and Time (Heidegger),451
in mediocracy,163–65, 173–74, 176
religious, decline in,547
Benjamin, Walter,193, 453, 456n45
Bennink, Han,371
Benson, Bruce Ellis,5
Bérault, Nicolas,281–82
Bergson, Henri,145–47, 150
Berkowitz, Aaron L.,19, 49, 58–61, 63
Berliner, Paul,9–10, 14, 62, 497n31
Bible,205, 544–45
Bills, Jennifer,358, 360
behavior monitoring by farmers,367, 371, 377
bird song studies,500–503
humpback whale songs compared to nightingales,509–10, 510f
imitation of parrots,506
intelligence of,506
laughing thrush musical improvisation,503–5, 504f, 505f
meaning of songs of,509
musical repertoire of,519
singing motivations of,502
surprise from songs of,502
veery’s song notations,507–9, 507f, 508f, 509f
Black Atlantic rhythm,51
Blacking, John,79
black social self,330
Blackwell, Tim,18
Blair, Rhonda,359–60
Blake, Eubie,341–42
Blanchot, Maurice,450–54, 456n43, 456n44
Bley, Paul,186, 192, 193, 532
Bloch, Ernst,144, 449
“blooming buzzing confusion” (William James),489–90
(p. 556) Blum, Stephen,11
Blume, Judy,358
Boal, Augusto,354
embodied cognition and,76–77, 81, 86
Essays (Montaigne) linking text to,233–34
Essays (Montaigne) on limitations of,234–35
gender in improv comedy and,360–61
habits and,292, 316
Jankélévitch’s view of,145
as knowledge vector,183–84, 197–98
mind and,93, 95, 98, 102, 291, 302n22
Montaigne’s view of,233–36
music-making and,78
responsive body,300, 304n69
resurrection of,548
social constraints on,316
social dance and,333, 335–37
Spinoza’s view of,161, 173
truth and,296
yoga and body pedagogy of,217–23
Boissard, Jean Jacques,277, 279f
Bordo, Susan,220
Born, Georgina,xiii, 9
Böttiger, Karl August,244–45
Bouazizi, Mohamed,174
Bourdieu, Pierre,9, 103
Bowers, John,92
Bowie, Lester,195
Boykin, David,213n24
Bracciolini, Poggio,270
Brahem, Anouar,506
brain, bird,503, 505
brain, human
embodiment and,76–77
improvisation and activity in,44–49, 56–60, 80, 406–7
mirror systems and,64, 81–82
music’s impact on,64–66
neuroscience of improvisation insights on,63–66
Bratman, Michael,484–85
Braun, Allen,60, 80
Braxton, Anthony,131, 136–40, 144, 160, 199n4, 206–9
“conceptual grafting” and,133
diagrammatics and,171–72, 179n22
on global community of music,409
Breton, André,203–05
in management systems,14, 16–17
in economic management,16, 27n92
Brin, Sergey,392–93
British Journal of Aesthetics,420
Broken Strings (film)459, 474–77
Brooks, David,406, 408, 410
Brown, David P.,168, 179n22
Brown, Ernest,351n45
Brown, James,154
Brown, Spencer,448
Bryars, Gavin,401, 449
Bryson, Lymon,301n7
Buddhism,119–20, 125n26
Zen,291, 298
Burke, Edmund,523
Burke, Kenneth,263
burning, shifting cultivation and,370–72, 377
business management.See management, improvisation in
Butler, Judith,8, 115–18, 124n6, 125n27, 359
Cage, John,10, 25n62, 41, 199n1, 199n2, 303n40
alternative approach to composition of,293–95
composition liberated by,296
decentralization and,294–95
feedback and,295
indeterminacy and,294, 302n27
improvisation and,302n27
polyattentiveness and,293
Cain, Jeff,313
Callier, Frances,357
Canizzaro, Joey,312f
Canonne, Clément,18
capitalism,170, 220
The Carder and Carrier (D’Israeli),256
Cardew, Cornelius,187, 189, 507
Carter, Curtis L.,11
Carter, Ron,450
Castiglione, Baldassare,262–63, 464
Cavell, Stanley,6, 523, 525
(p. 557) Centering: In Pottery, Poetry, and the Person (Richards),292
of power,290–91
Chadabe, Joel,18, 97
“changes,” playing on,427–28
Changizi, M. A.,85–86
“Chasin’ the Trane” (John Coltrane),486–87
Châtelet, Gilles,175
Cherry, Don,206
Chicago Stepping (competition),336
Chinampas (Taylor),155
Chomsky, Noam,130–32, 138, 473
improvisation and,297–98, 304, 332, 339–48
of Kiss Me, Kate,344–45
recognition for,339
Christian ethics
Bible’s role in,544–45
consequentialism and,540
in contemporary Europe,547–49
decisionist ethics and,543
ecclesial ethics and,540–42, 549n9
habits and,545
improvisation and,544–49, 550n19
overaccepting and,546, 548
reincorporation and,546–47
status and,545–47
subversive ethics and,540–41
universal ethics and,539–40, 542
virtue ethics and,542–43, 545, 549n9
Ciborra, Claudio,14–15
Cicero,258, 280
Quintilian’s independence from,281
on time and eloquence,265–67
on writing and improvisation,266
citations, Montaigne’s use of in improvisation,229, 233, 236, 237n11
Citton, Yves,7, 207
Civil War (American),378
Clark, Andy,101
Clarke, Eric F.,28n102
classical music, Chinese,409
classical music, Vietnam,409
classical music, Indian,2, 52, 75, 428
classical music, Western,3, 49, 51–52, 188, 459–60
compared with jazz,189, 191
composition process in,185–86
cutting contests and,469–70
improvisation in,49, 188
jazz as “America’s classical music,”433n9
normativity of, in philosophy of music,423–26, 432
risk in musical improvisation, compared to,191
temporality in jazz, compared to,189
variance in performance of,188
Clausewitz, Carl von,391–92
in improv comedy,356
in improvisation,402
jazz and,10, 190
Montaigne and,236, 241
Close, Del,363n1
in rice farming,366–67, 375
“cluster concept,”423
Cochrane, Chris,309, 310f, 311f, 318, 321f
cognition,146, 148
agency and,106n21
embodiment and,93–94
free improvisation and levels of,406, 410–11
of language, compared to music cognition,63
cognition, in musical improvisation.See also music cognition
associative generation and,41
comparative and cross-cultural issues in studies of,48–52
computational approach to,52
empirical studies in,44–48
importance of studies on,52
instability and,48–49
interrupt generation and,41
IOFP model and,42–44
jazz studies and,49–50
models for,39–42
social dynamics of,95
(p. 558) cognitive neuroscience.See neuroscience of improvisation
Coleman, Ornette,194, 494n8, 533
on consistency,485
Derrida’s collaboration with,28n106, 144, 151
on improvisative process and results,187, 194
on repetition,154
“we-intention” in the music of,483
Coleridge, Samuel Taylor,247
Coles, Honi,339, 346–47, 351n45
collaborative nature of improvisation,12, 195, 402
in jazz, as model for business,386
collaborative emergence,12, 194–95
action, ensemble improvisation and,484–85
in actor-network theory,102
in conversation,12
improvisation,7, 18, 75, 170–71
as model for political action,170–72
in politics,161, 165, 169, 172
in propagation of rumor,15
collective agency,7, 163–66, 174–75. See also agency
Collective Free Improvisation (CFI),18
collective improvisation.See ensemble improvisation
collective intention,6
consistency and,485
“de-individuation” and,488, 496n23
individual transcendence of,495n11
jazz and,495n11
“our-intention” and,493
semantic interconnections and,487–88
solos supported by,485–88, 493
“we-intention” and,483–84, 493
collective unconscious,206, 356
collective unity,194–95, 197
Coltrane, John,137, 190, 206–7, 426, 483, 535
collective intention supporting solos of,485–88, 493
“de-individuation” and,488
motivic logic and,496n17
Columbia Business School,385
comedy.See improv comedy
commedia dell’arte,168, 182
commercium,134–36, 139
common purpose, improvisation and,169–70, 179n21
communication,143, 163, 174, 204, 208
through music,50, 63, 184, 301, 401, 406, 497n31, 506
through language,204
through social dance,331, 333, 337
interspecies,502, 509, 514
Complete Communion (Cherry),206
compliance (philosophy)
improvisation and,474
composition, dance,331–32, 339–340
African American,331
composition, literary,237n5
composition, music
affect of,152
by Beethoven,524
brain activity during performance of,59
Cage’s approach to,293–94, 296–97
characteristics of,186
compared with improvisation,40, 49, 370, 386
inspired by whale song,511
improvisative dimension of,5
interpretation of,188
in jazz,199n4
Latour’s metaphor of,162
as mode of creativity in business,386
musical improvisation compared to,184–90
performance’s convergence with,185
performance timing of,47, 52
processes of,133, 137, 170–71, 179n22, 184–86, 404
perspective and,187
in philosophy of music,422, 424
product of,189–90
revision and,186
Western dialectic with improvisation,3, 5, 9, 11, 13, 103, 167, 184
(p. 559) composition, oral,2, 255–56
compared with improvisation,25n59
compared with literary composition,245, 248
by improvvisatori,239–40, 242
analysis of music through,44–47, 52
improvisation and,16
as early model for cognition,76
emergency management and,17
generation of music through,52
as model for jazz improvisation,193
temporality of,79
analysis and modeling of bird song,504, 508
part of everyday life,104, 411
computer science,13, 15, 17, 392
computer improvisation
in music,18, 40, 92, 101
in theater,18
conceptual blending,52
conceptual grafting,133
conceptual knowledge,120–23
as cognition,125n28
contrasted with non-conceptual knowledge,119, 122–23, 125n26
conceptual migration,14
The Concept of Mind (Ryle),92–93
Conduction,170–72, 179n21, 404
consciousness,87, 117–18, 205, 219, 221, 406–7. Alsosee double consciousness
as achievement,96–97
current of,207
in Buddhism,125n26
in Hegel’s thought,120, 125n30
Husserl on prophetic,444
in improv comedy,362
in Jankélévitch’s thought,146–47
musical improvisation and,94–95
of self.See self-consciousness
of time.See time-consciousness
of sound-event,445
stream of (William James),489
universal interconnectivity of,208
Considérations sur les principaux événements de la Révolution française (Staël),260n22
consistency, collective intention and,485
body and social,316
in dance improvisation,313–14, 316–17, 327n19
empathy and,82
freedom and,8
gender and, in improv comedy,361
grid and group (Mary Douglas),378
of history,258
in improvisation,8–9, 15–17, 24n46, 85, 154, 259, 380
on individual activity,300
in music improvisation,49, 194, 197, 301n3, 403–4, 427, 443–44, 460, 479n20, 533
in oral improvisation,240, 252
in organizations,387
power and,164
resistance and,9, 140
of time,252
contact improvisation,3, 219, 290
acceptance and,298
decentralization of,297–98
evolution of,299
excitement of,298
expectations for,11
feedback and,296, 299
flow and,296–97
group therapy compared to,304n69
Houston-Jones studying,314
origins of,297
self defined in,300
shared principles of,219
contests,343, 458–59, 465, 476–77. See also cutting contests
cultural,13, 77
improvisation and,15, 116
musical improvisation and,195
social,12, 51, 91, 381n1
(p. 560) contingency
improvisation and,12, 17, 103, 187–89, 228, 236, 375, 471
conversation.See also speech acts
with body during yoga,217–18
improvised nature of,12–13, 74, 182–83, 198, 420, 473
jazz as,12–13
language and social practice compared to,94
musical improvisation compared to,198–99, 429
as performance,13
spontaneous production of,12
status interaction,545
Cook, Charles,351n45
Cooper, Dennis,309, 318–21, 321f, 324
contests and,468
in dance,300
improvisation as,183, 388–89
“co-operative” agency,97
coordination,94, 97, 104
in musical improvisation,396–97, 400–4, 408–9, 411, 425
in music performance,57, 188–89
in political action,171
path dependence and,397–99
role of culture in,388
African Americans and unfair treatment with,339–40, 346, 348
choreography recognition for,339
Hudgins and improvisation despite,344
Hudgins obtaining,340, 342–43
improvisation challenges with,347–48
Kiss Me, Kate dancers’ omission from,344
Copyright Act of 1911 (British),350n31
Corbett, John,102, 211–12
Corinne, or Italy (Staël),256–59, 260n16
Council for Democracy,301n7
Couperin, Louis,47
The Courtier (Castiglione),262–63
Cousin, Jean,267
Cover, Robert,128–29
creative combination, improvisation in management and,390–91
Creative Evolution (Bergson),146
creative time,150
creativity,57–58, 104, 154–56, 198
in agile software design,16
copyright and,341
in improvisation,147
improvisational, compared to compositional,386
as interactive,104
madness and,138
in management,14, 389–91
neural processes and,60
non-linear, in social dance,331
process and,189
product and,189
Sonny Rollins on,532
creator-witness phenomenon,62, 69n28
critical improvisation studies,xi, 1–2, 13, 20.
growth of,2
music and origin of,1
cross-gender performance, in improv comedy,356, 358–60
cross-racial empathy, recorded music and,82
cruising,319, 324, 326
Cruz, Felix,311f, 317, 319
Csikszentmihalyi, Mihaly,175–76, 355–56, 407
Cunningham, Merce,297, 303n54, 304n64
Curran, Alvin, xi (n1),99
cutting contests
in 8 Mile,467–68
in Broken Strings,476
in Crossroads,468
improvisation impromptu and,467, 469–70
in Scott Joplin,468
Western classical music and,469–70
cybernetics,92, 101, 291, 300,
dance.See also contact improvisation; THEM; social dance
decentralization of,297
(p. 561)
Houston-Jones’ education and background in,313–14
improvisation in,4, 11, 40, 57, 75, 296–300
as political,316
“Roger Rabbit,”333
scholarship on improvisation in,314, 325
on YouTube,336
dance circle,337
Dancing for Our Lives!,309
Darling, Jim,520
David, Joannes,280
David, Paul,398
Davidson, Arnold,88
Davies, David,11, 479n20
Davis, Anthony,210
Davis, Fred,344–45
Davis, Miles,190, 192, 199, 488, 508–9
Davis, William,304n65
Davy, Kate,358–59
Death in a Minute (improv comedy game),356–57
Debord, Guy,164
de Carpi, Girolamo,277
Cage and,293–95
contact improvisation and,297–98
of dance,297
democracy and,298
in management,388
of power,290–91
decision-making,271, 280
of computers in music,97, 101
collective,171–72, 177n7, 221
Derrida’s discussion of,119–20
ethics and,540–41
in improv comedy,358
in improvisation,6, 15, 40, 153, 397, 406, 408, 411, 479n20
the improvisative and,125n31
in management,26n77, 385, 389
mistakes and,122
neural processes and,59, 64
planning and,291
as running argument,16
tradition and,126n32
decisionist ethics,543, 545
A Defence of Poetry (Shelley),247
Defoe, Daniel,255
de-individuation,488, 496n23
de La Boétie, Étienne,163, 227
Deleuze, Gilles,173
Deliège, Célestin,10
de Mille, Agnes,346–47
democracy,166, 292
Christian ethics and,548
decentralization and,298
Derrida on improvisation and,19
improvisation and,221, 289–90
“mythocracy” (Sun Ra) and,166
research on improvisation and,19
second-order learning and,292
de Raymond, Jean-François,282
Derrida, Jacques,9, 115, 156, 471
critical reactions to film on,143
on embodied speech,150
on “here and now,”119–20
on improvisation and democracy,19
on improvisation as impossibility,461–62, 470
on iterability of language,116
Jankélévitch on temporality compared to,153
on lived instant and negative absence,148–51, 149f
Ornette Coleman’s collaboration with,143–144
Descartes, René,93, 236
Descombes, Vincent,119
desire,161, 319, 326, 330
in Butler and Hegel,116–18, 124n12
in improv comedy,361
improvisation and,336, 447, 449, 461
queer,313, 324
in Spinoza,161
yearning and,439
deutero-learning,291–94, 301n16
developmental psychology, group attention studies in,491, 497n27
diagonality, improvisation and,7, 170–71
Dialogue on improvisation (Bérault),282
Dickens, Charles,546
Dickenson, Emily,486
discourse,270–72, 280
Discourse on Method (Descartes),236
Discourse on Voluntary Servitude (de La Boétie),163
disorganization, improvisation in management and,388
D’Israeli, Isaac,256
distributed agency,93, 96–97, 99–100. See also agency
Dodd, Julian,423
Dolan, Jill,358
domeisia (performed folk tales),381
dorsal premotor cortex (dPMC),59
dorsolateral prefrontal cortex (DLPFC),46, 60
double consciousness,205, 207, 209–11
Douglas, Mary,378–80
Douglass, Frederick,154
Dourish, Paul,15
Dowd, Irene,218
Drury, Lindsey,324–25
dualism, embodiment and,76
Dunn, Robert,304n64
Durant, Alan,4
durée (lived time),145–47
Durkheim, Émile,378–80
Dutton, Denis,423, 434n16
ecclesial ethics,540–44, 547, 549n8, 549n9
free improvisation informing,409–12
of happiness,409–10
human capital and,410–11
improvisation and,17
knowledge creation in,409
labor productivity and,411
path dependence and,27n99, 396–98, 409–12
Edison, Thomas A.,336
emotional and moral,410
free improvisation in,412
for improvisation impromptu and improvisation extempore,465–66
interspecies improvisation and,506, 520
for musical improvisation,62
Quintilian on fruits of,465–66
Eickmann, Jill,362
8 Mile,467–68
elective affinities,211, 468
elective musical improvisation,199
electro-acoustic music,92, 99–100
authorship and agency in,100–101
challenges and trends in,104
conventional boundaries of,92
distributed agency and,99–100
interagency and,103
electronic music,290, 507
preprogramming in,397
Ellington, Duke,99, 107n42, 199n4
eloquence,265–68, 282
Emblemes lains (Boissard),277, 279f
in Christian theology,544
cognition and,93–94
Derrida on speech and,150
dualism and,76
experience and,87–88
fantasy and,77
in musical improvisation and empathy,80, 87
music and,86
music cognition and,76–77
rhythm perception and,77–78
sound of motion and,86–87
temporality and,78–79
emergency management
improvisation and,17
Emerson, Ralph Waldo,478n8, 523
Emmerson, Simon,101
emotional intelligence,407, 410
emotions,7, 405
equilibrium and,400
(p. 563)
expectation and accompanying,83
expression of, as Romantic value,240
flow and,407
free improvisation and,407, 411–12
in improv comedy,359, 362
improvisation and,420, 434n16
John Cage and,294
levels of consciousness and,406
in management,390
moral education and,410
music as language of,509
music therapy and regulation of,50–51
neural processes and,56, 60
path dependence and,398
projected through sound,213
recognition of,86
in social dance,332
action understanding and,81
auditory processing and,81–82
embodiment in musical improvisation and,80, 87
free improvisation and,451, 453, 488
limits of,454
mirror systems and,64
neuroscience of improvisation and,81–83
in performance with interactive computer systems,101
recorded music and cross-racial,82
time-consciousness and,454
energy field model,291
ensemble improvisation
anticipation in,492–93
awareness and,293
bebop and,289
collective action and,484–85
familiar vocabulary in,401–2
group attention and,489, 491
jazz and,493
mutual responsiveness in,486
self and,300
shared attention in,491
shared history and,50
social contract and,481–82
entropy,47–49, 147
environment, agency and,96
Erasmus, Desiderius,262–63, 267, 270, 277
Erköse, Barbaros,506
Essay on the Original Genius and Writings of Homer (Wood),245
essays.See also poetry
Adorno on,228–29
mediated information used in,229
Montaigne and terminology of,228
Montaigne’s style with,229
quotation in,232–33, 236
Essays (Montaigne)
body linked to text in,233–34
body’s limitations in,234–35
continued expansion of,231
improvisational features in,227–28
improvisatory expansion in,231–36
originality of,230
rhetorical improvisation in,230
strategy for reading,231
translation of,236n3
variety of themes in,230
Estienne, Henri,271, 283n22
Ethics (Spinoza),161
ethics,6, 267–68, 277, 280–81, 531. Alsosee Christian ethics
ICASP research group on,19
subversive ethics,540–41
discourse and problem of,280.
ethnomusicology,1–2, 11. See also musicology
Euro-logic, in improvisation,51–52
Evans, Bill,425, 429, 432
event clusters,40–41, 45
event timing,47
of contact improvisation,298
of expectation,447
in musical improvisation,405
of oral poetry,246
in musical improvisation,425
existence, recognition and,117
Existers (Gilbert and George),323f
(p. 564) expectation,83–84
emotion accompanying,83–84
excitement of,447
in free improvisation,449
gender and,116
habit and,294
hope compared to,447–48
memory and,147, 444–49, 453
musical meter and,43
musical improvisation and,83–84
path dependence and,397
recollection and,447
of art,434n16
black (African American),431–32
in Buddhism,125n26
of consumption and path dependence,413n3
of contact improvisation,297–99
of de-individuation,488
embodiment and,87–88
energy field model of,291
in improv comedy,355–57, 360, 362
of improvisation,88, 184, 188, 241–42, 263
of listening,79–80
lived instant and improvised,145, 150–51
of the moment,450–51, 453
in Montaigne,233–35, 237n14
of music,148
philosophy and lived,120, 145, 230
of “queer time,”325–26
of rhythm,77
of sexuality,315
of time,146, 442–43
extemporaneity,263, 265–66, 269
ex tempore dicendi facultas,265, 267–72
extended mind theory,93, 94, 102, 106nn19–21
Fähndrich, Walter,20
failure.See also mistakes
African American social dance and,337–38
group attention and,491–92
stagnation and,402
embodiment and,77, 83
of the performing heroine,256
Farber, Anne,301n3
fascination, time-consciousness and,452–54
of ecclesial ethics,543
in improv comedy,545
of improvisation,24n46
improvisation impromptu and,470
musical improvisation and,196–97
originality and,190–91
recognition and,120
of stagnation,190
Febey, Tim,381n1
feedback,92, 291–93, 300
Cage and,295
contact improvisation and,296, 299
in management,387
Max Neuhaus and,295–96
Fenian Cycle,202
Ferand, Ernest,1
Fernow, Carl Ludwig,241–42, 244
Ferrero, Edward,458
Fey, Tina,126n33
Field Book of Wild Birds and Their Music (Mathews),507, 507f
Findlay, J. N.,124n16
Fineberg, Jean,121
Finkelstein, Louis,301n7
Finnegan, Ruth,246
Finn Mac Cumail,202–3
fit and wit,464–65
“flash of insight,”391–92
Fleming, Donald,309, 310f
flight, law and,129, 137–39
contact improvisation and,296–97
emotion and,407
energy field model and,291
(p. 565)
free improvisation and,407
Husserl on time-consciousness and,443
improv comedy and,362
musical improvisation and,40, 80, 175–76
Fluxus,1, 2
Foley, J. Miles,246
Fontana Mix (Cage),295
Fontana Mix-Feed (Neuhaus),295–96
For Alto (Braxton),137
Force-Effort-Energy-Loudness-Affect (FEELA) hypothesis,47
Forsyth, Joseph,245–46
Foucault, Michel,8, 197, 360, 530
on power,164
on technology of self,220–21
4’33’’ (Cage),295
Fourier, Charles,209
Fox, Terry,313
Frame, Donald,229, 236n3
Frank, Pamela,469
Freedman, David H.,388
freedom,117, 533
control and,465
democracy and,289
discipline and,362
improvisation and,8, 153, 258–59, 289, 314, 354–55, 359–60, 444
to make mistakes,123
in music of Cecil Taylor,156
philosophy of music and,428–29
in politics,170
with spontaneity and risk,428–29
structure and,9, 17
free improvisation,49–50
attention in,449
“being in the moment” and,453
cognition levels and,406, 410
constraints of,403
coordination in,396, 401–4, 408–9
desirable tension and,404
economics informed by,409–12
electronics in,99
in education,412
emotion and,407, 411–12
empathy and,451, 453
familiar vocabulary in,401–2
flow and,407
habit in,97
health and,411
heurism and,405–6
hope and expectation in,449
of Mengelberg and Bennink,370–71, 381n1
influence in,97
“lowercase music” and,96
micro-structure of,45
motivations for,404
oral composition and,25n59
phenomenological analysis and,449, 451
protention and retention in,448
purposes and benefits of,404–8
recollection in,449
self definition through,407–8
skills for,412
social dynamics and,179n21
social interactions and,406
solitude and,451–52
transcendence through,405
virtuosic temptations in,402–3
Freud, Sigmund,466
friendship, health and,411
Fulkerson, Mary O’Donnell,297
Fuller, Lorenzo,345
functional magnetic resonance imaging (fMRI),43, 45, 49, 80
neuroscience of improvisation studied with,57–58
subtraction technique and,58
Furbank, P. N.,255
Furtwängler, Wilhelm,429
Fusco, John,468
future, Husserl on improvisation and,445–46
Gaab, Nadine,65
Gabbard, Krin,479n25
Gabelsberger, F. X.,250
Gantner, Vallejo,310
Garfinkel, Harold,15
Gargantua (Rabelais),270, 281
(p. 566) Garrison, Jimmy,487
Gates, Henry Louis, Jr.,23n29, 105n9
Gaut, Berys,423, 434n16
gbengben (rice variety),368
bird song and,502–3
humpback whale songs and,509
in improv comedy,356, 358–62
discrimination in jazz due to,431
law of,116
mistakes and,122
performance of,8, 115–16
self-consciousness and,121, 125n30
Gender Trouble (Butler),115
GENEPLORE model,42
generative grammar,130–32, 140–41
generosity,122–23, 126n33, 155
Gentlemen Prefer Blondes,346–47
Gere, David,4
Gestalt therapy,291, 300
Gestalt Therapy: Excitement and Growth in the Human Personality (Hefferline, Perls, Goodman, Paul),292–93, 302n22
blackness as,330
gendered, in improv comedy,359–61
hypergesture,173, 175, 177
queer gesture,323–25
in social dance,333–34, 337
gesture field painting,302n19
gesture mapping,99
gesture recognition,104
Ghostly Matters (Gordon),93
Gibson, J. J.,86
Gilbert and George,322, 323f
giligoti (rice variety),374
Gillespie, Dizzy,488
Gilmore, John,488
Gioia, Ted,4, 6–7
Girls’ Jazz and Blues Camp (GJBC),120–23, 125n30
Glissant, Édouard,138–39, 203
glitch music,103
God’s Love We Deliver,314
Goffman, Erving,4
Goldman, Alan,424
Goldman, Danielle,340
Gonda, Caroline,256, 259n8
Goode, Richard,405
Goodman, Nelson,190, 425, 474
Goodman, Paul,289, 291, 293, 300, 302n22, 302n23
Gordon, Avery,93
Gould, Glenn,497n32
grammar.See also language
generative,130–32, 140–41
jurisgenerative principle and,130–31
Grand Union,297, 299, 304n64
Greek antiquity, poetic improvisation affiliations with,243–47, 250
Greenblatt, Stephen,7–8, 255
grid-group dispositions, agency and,378–80
Groos, Karl,466
Grosjean, François,12
Gross, Terry,126n33
“grounding by interaction” framework,76
group attention
developmental psychology studies on,491, 497n27
ensemble improvisation and,489, 491
failure and,491–92
listening and,490
spotlight metaphor for,490–91
group flow,104
groupmind,104, 355–57
Group Motion Media Theater,313
group observation.See ensemble improvisation
group therapy, contact improvisation compared to,304n69
Guattari, Félix,144
Guide to Bird Songs (Saunders),507, 508f
Gunn, Thom,320–21
habit,5, 11, 75, 88, 97, 190, 250, 268, 294, 301n7, 462
the body and,234, 292
Christian ethics and,545
in dance,317
ethics and,545, 548
in organization studies,391
in yoga,218–19
Haden, Charlie,494n8, 535
Hadot, Pierre,6, 524, 527–28
Hagberg, Garry,6, 23n28, 426
Hägglund, Martin,148
Halberstam, Judith,320
Hall, Jim,450, 535
Hall, Stuart,210–11, 357
Hamilton, Andy,4–5, 15
Hansen, Mark B. N.,100, 104
Hanslick, Eduard,420, 422
Adorno on art and,439–41, 448–49
economics of,396, 409–10
improvisation and,412, 441
improvisation impromptu on edge of,462–64
presence and,440
types of,463–64
unhappy consciousness,439
in yoga,221
Haraway, Donna,92
Hardt, Michael,171, 210–11
Hare, Maurice E.,473
Harris, Eddie,10
Hawkins, Coleman,528–33, 531f
Hayek, Friedrich,290–91
Hayles, Katherine,101
health, free improvisation and,411
Hécatomgraphie (Corrozet),277, 278f
Heeren, A. H. L.,245
Hefferline, Ralph,292, 302n22
Hegel, Georg Wilhelm Friedrich,115–18, 124n16, 157n19
on temporality of sound,148–49
on unhappy consciousness,439–40
Heidegger, Martin,133–35, 451–52
Helmholtz, Hermann von,492
Henderson, Joe,190
Hentoff, Nat,194, 199
“here and now,”5, 119–20, 187, 190. Also see moment
heurism, free improvisation and,402, 405–6
Hill, Constance Valis,345
Hill, Isabel,257
Holiday, Billie,182
Holm, Hanya,339, 344–46
Holmes, Oliver Wendell,129
Homer,10, 25n59, 234, 458
improvvisatori compared to,242, 244–48, 250
homosexuality,320–21, 323–26, 361
Hopkins, Phil,95
Houston-Jones, Ishmael,309, 310f, 311f, 312f, 321f, 327n16, 328n39
contact improvisation studied by,314
dance education and background of,313–14
identity exercises of,315–16, 323
political activism of,314
“The Politics of Dancing” and,315–16
on race,323
on significance of AIDS,310
THEM 2010 revival and direction of,321–22
THEM 2010 revival and solo of,318, 322–23
How We Became Posthuman (Hayles),101
Huarte, John,130, 138
Hudgins, Johnny,349n14
blackface and,347
copyright obtained by,340, 342–43
creative process of,341–42
as eccentric dancer,340–41
imitators of,343
impromptu invention of,341
improvisation despite copyright of,344
Whitney suing,342
Hultsch, Henrike,502
human capital, economics and,410–11
humanism,228, 272, 281
human movement, sound of,86–87
humpback whales
constant change and musical improvisation of,519
extended pattern and structure of,511–12, 511f
gender and songs of,509
imitation of songs by,512, 519–20
(p. 568)
interspecies improvisation methodology for,513, 513f
interspecies improvisation of clarinet and,512–14, 513f, 514f, 515f, 516f, 517–19
nightingale songs compared to,509–10, 510f
popularity and inspiration of songs of,511–12
rhythm matching of,517
seasonality and songs of,512
sonograms of clarinet and,513–14, 514f, 515f, 516f, 517
Hurley, Susan,93
Huron, David,83
Husserl, Edmund,5, 15, 23n25, 149, 441
on consciousness of sound-event,445
on flow of time-consciousness,443
on improvisation and future,445–46
intersubjectivity problem of,449–50
on moment’s dependence on recollection,446
on new and now,442
on prophetic consciousness,444
on retention and protention,442–44, 446
Hutchinson, Ann,345
Huyssen, Andreas,1
hypergesture,173, 175, 177
Romantic,240, 244
in black social dance,331
of intellectual property law,340, 348
in improv comedy,357
identity,xi, 115, 117, 330, 528
baptism and,542
between improvisation and experience,88
Christianity and,548, 549n8
compliance and,474
formation of,293
Houston-Jones’ exercises on,315–16, 323
idiomatic improvisation and,178n15
improv comedy and,360–62
musical improvisation and,6–7
of the musical work,474
poetry and,204–5
“The Politics of Dancing” and,315
through recorded music,428
idiomatic improvisation,62, 168–69, 178n15
idiomatic music,9
Iliad (Homer),245
imagination,128, 161, 165, 204, 237n6, 434n16, 461
“I’m an Old Cowhand” (Sonny Rollins),526
entropy of improvisation compared to,48–49
flows/waves of,169, 174
of humpback whale songs,512, 519–20
interspecies improvisation avoiding,505
invention and,164
jazz learning and,62
of parrots,506
Tarde’s notion of,163–65
in embodied speech,150
in improvisation,153, 156
of place,171
of thought,213
aesthetics of,4, 7, 26n77
in organizational science,26n77
imperial ideologies, improvisation and,7–8
impossibility, of improvisation,461–62
improv comedy,354
African American problems with,357
agreement and,355–56
cross-gender performance in,358–60
Death in a Minute game in,356–57
flow and,362
gender issues with,356, 358–59
generosity and,126n33
groupmind and,355–57
homosexuality and,361
identity and,362
mainstream ideology in,357
(p. 569)
principles of,355
status and,358
stereotypes perpetuated by,355, 359
improvement, improvisation and,167
improvisation.See also critical improvisation studies
African American social dance and,331–33
African Americans’ traditions with,154–55
all’improviso and,167–68
eroticism and,155
as aesthetic object,424–26
burning as,372
Christian ethics and,544–49, 550n19
Cicero on writing and,266
common purpose and,169–70
compositional creativity compared to,386
conceiving histories through,257
constraint and,8–9, 24n46, 85
conventional understanding of,93–94
conversation compared to,183
copyright challenges with,347–48
Corinne, or Italy and,256–59
created temporal event and,443–44
definitions of,3, 13–14, 16, 57
democracy and,289
Derrida on democracy and,19
Derrida on impossibility of,461–62
Derrida’s frustrations with experience of,143–44
detecting presence of,80
diagonality and,170–71
diagrammatics and,171–72
dismissal and disparagement of,419–421
economics and,17
entropy of imitation compared to,48–49
experience’s relationship to,88
ex tempore dicendi facultas and,265, 267–72
first English usage of,255–59, 259n4, 260n9
freedom and,258–59, 289
gaffes and,85
happiness and,441
history of,2
Hudgins’ copyright and continued,344
Husserl on future and,445–46
idiomatic and non-idiomatic,168–69, 178n15
illusion of,75
imperial ideologies and,7–8
improvement and,167
inspiration compared to,246–47
intelligence and,166
jurisgenerative principle and,132
knowledge and,202
law of,429
learning through,74–75
masking trope with,4
mistakes and,40, 80
Montaigne linking philosophy to,235–36
in Montaigne’s Essays,227–28
moral perfectionism and,6
musical improvisation compared to shifting cultivation and,371
neglect of,4
neural basis of,57–61
origin of term,255–56,
planning’s relationship to,15–18
Plato and,268
as poetry,205
political agency and definition of,166–72
poverty and,167
present and,144–56
process-product opposition and,4–5
Providence rejection and,166–67
qualities of,74
Quintilian on,266–70
rarity of surprise in,446–47
Renaissance and,264–65, 270, 282
rhetorical tradition and,263, 265
risk and,168
search algorithms and,17–18
self and,88
soccer and,198
structured,8, 297, 310, 345
Tahrir Square, political agency and,174
therapies based on,4
as way of life,13–19
yoga and,219–22
Improvisation, Community, and Social Practice (ICASP),19
(p. 570) improvisational behaviors,74
improvisational theater,6, 18–19
improvisation extempore
Broken Strings and,477
concept of,459–60
critique and,460–61, 478n6
education for,465–66
ego with,467
improvisation impromptu compared to,459, 477
jazz and,460
mistakes and,463
Ryle on,472
wit and fit demand of,464
Improvisation for the Theater (Spolin),355
improvisation impromptu
Broken Strings and,459, 474–77
compliance and,474
concept of,460
critique and,460–61, 478n6
cutting contests and,467, 469–70
on edge of happiness,462–64
education for,465–66
ego with,467
fear and,470
impossibility and,461–62
improvisation extempore compared to,459, 477
karaoke murders and,471–72
as public act,470–71
Ryle on,472–74
wit and fit demand of,464
Improvisation: Its Nature and Practice in Music (Bailey),3
improvisation models, of Pressing,39–42
improvisative, the,115
agency and,123
characteristics of,118–20
generosity and,122–23
mistakes and,121–22
as responsive,123
singularity and,119–20, 125n31, 126n32
improvisatory expansion, of Montaigne,231–36
Improvised News (Shibutani),15
ImprovOlympics,358–59, 363n1, 363n2
improvvisatori/improvvisatrici,2, 259n7
artificiality criticism and,247
audience impact on,240
controversial nature of,240
first English translation of,256–57, 260n9
Homer compared to,242, 244–48, 250
minstrels compared to,256
oral phenomenon of,241
in print media,241–43, 250–52
rise of,239–40
socio-political power of,248–50
tourists discovering,242–43
virtuoso feats of,241
Cage and,294, 302n27
compared with improvisation,10, 17
course of events and,272
memory and,446
Indian classical music.See classical music, Indian
inferior frontal gyrus/ventral premotor cortex (IFG/ vPMC)
evolution of,65
mirror systems and,64
neuroscience of improvisation and,59, 63
The Infinite Conversation (Blanchot),456n43
Information Dynamics of Music (IDyoM) model,47
information systems theory,14
“initialization,”419, 474
innovation,6, 11, 16, 168, 460, 472–73
conservation and,211
in bird song,512
in humpback whales,519
for Husserl,442
in jazz,198, 420, 507
in organizations,390, 393
social dance and,330, 332
inscription, lived instant and,149, 149f, 155
inseparability, in improvisation
of composition and performance,185–86, 189, 198,
improvisation compared to,246–47
instinct and,465
in Quintilian,269, 281
Romantic ideal of,240, 244
(p. 571) instability,242
cognition in musical improvisation and,48–49
instant, lived.See lived instant
“instant composition,”11, 179n21
Institutio Oratoria (Quintilian),2, 270, 465
of birds,506
artificial,15, 19, 101
collective,408, 410–11
communal,289, 300
improvisation and,166
intention.See also collective intention
avoidance of,302n27
agency and,95–96, 106n21
compared with attention,192–93
definition of,98–99
ex consilio,266
interpreting,408, 410–12
moment and,443
musical improvisation and attention compared to,192–93
neural processes of,61
in Spinoza,161
temporality and,442–43, 445, 452
intentionless invention,9
in artificial intelligence,101
in computer music,92,
Interactive Object/Feature/Process (IOFP) model
attention and,43–44, 50
cognition in musical improvisation and,42–44
non-improvised compositions and,48–49
in computer music,2, 18–19, 40–41, 52, 92, 97
in negotiation,10
interagency,93, 99. See also distributed agency
electro-acoustic music and,103
interpretation,129, 188–89
in black social dance,337
interrupt generation,41, 45, 50
interruption, skin conductance and,44, 46–47
interspecies improvisation.See also birds. See also humpback whales
between laughing thrush and clarinet,503–5, 504f, 505f
education and,506, 520
of humpback whales and clarinet,512–14, 513f, 514f, 515f, 516f, 517–19
humpback whales and methodology for,513, 513f
humpback whale songs compared to nightingales,509–10, 510f
imitation avoided in,505
jazz and,507–9
knowledge from,502
training for,520
veery’s song notations and,507–9, 507f, 508f, 509f
cognition and,79, 82, 84, 88
in contact improvisation,297–98
Husserl’s problem with,449–50
learning and,150
of time,146, 148–150, 153, 157n9, 185, 392, 445
in-time processes,78–79
intuition,95, 104, 145, 155,
as criterion for the best improvisation,15
knowledge of the real through,145
as masking term for improvisation,4
strategic,386, 391–93
invention,152, 167, 190
African American social dance and,331
Cicero’s view of,280
Hudgins’ impromptu,341
imitation and,164
Ion (Plato),243
irreversibility, musical improvisation and,186, 198
iterability,11, 116–17, 119
Iyer, Vijay,19, 51
(p. 572) Jackson, Jonathan David,332
Jackson, Thomas “Stonewall,”378
James, William,292, 484, 489
jam session,188
of birds,503
JANE (improv troupe),358–61
Jankélévitch, Vladimir,156, 157n9
Derrida on temporality compared to,153
on Liszt’s compositions,152–53
on lived instant,146–47, 146f, 150–51
lived time and,145–47
on memory and time,147
on musical improvisation and mediation,152–53
on musical improvisation and presence,147–48
Jarrett, Keith,188
Jaulin, Robert,209
adaptation and appeal of,506–7
African American roots of,199n1, 431
brain activity during,406–7
as classical music,433n9
cliché and,190
cognition in musical improvisation and studies on,49–50
collective intention and,495n11
collective unity and,194–95
composition in,199n4
as conversation,12–13
creativity precursors in,198
elusive nature of,182–83
ensemble improvisation and,289, 493
gender discrimination in,431
improvisational immediacy and,135–36
improvisation extempore and,460
intellectual vanguard and,160
interspecies improvisation and,507–9
as knowledge-in-action,183–84
learning process of,197–98
male domination in,121
motif theory and,10
without musical improvisation,199n1
musical repertoire and,430
organizational theory and metaphor of,14
playing on “changes” in,427–28
pop culture’s representation of,420
race and,431
retrospection and,193–94
Rollins on creativity and,532
signifying and,6, 23n29
social psychology and,50
“state of flow” in,175–76
studies,6–7, 23n29
temporality in Western classical music compared to,189
timbre and,426
Jazz Dance (Stearns, Marshall, and Stearns, Jean),340–41
jazz metaphor, in organizational science,14
The Jazz Singer,479n25
Jencks, Charles,5
Jeneba (Mogbuama woman),373, 376
jewule (rice variety),375
Johnson, Stringbean,476
Johnson-Laird, Philip,10, 12, 93
Johnstone, Keith,358, 444–46
Jones, Elvin,487
Jones, Thad,155
Joseph, Miriam,2
Journal Étranger,243–44
journalism, poetic improvisation compared to,251–52
Journal of Aesthetic Education,420
The Journal of Aesthetics and Art Criticism,420–21, 433n5, 434n14
Jowitt, Deborah,319
Judson Dance Theater,299, 303n54, 304n64
jurisgenerative principle,128, 137–38
grammar and,130–31
improvisation and,132
state interpretation and,129–30
Kafka, Franz,115–16, 121
Kagan, Jeremy,468
Kairos (deity),271–72, 276–77, 280
Kaiser, Jeff,92
(p. 573) karaoke murders, improvisation impromptu and,471–72
Karsch, Anna Louisa,243–44
kebeleh (rice variety),375
Kendra, James,17
Keros, Angela T.,10, 13
Kierkegaard, Søren,439–41, 448, 452–53
kinesthetic sensation, yoga and,220
Kiss Me, Kate dancers,339
choreography and,344–45
copyright omission of,344
recasting of,346
Klee, Paul,193, 453
base for musical improvisation,62–63, 192
conceptual compared to non-conceptual,122–23
economics and creation of,409
experience and,87
for Hegel,117, 124n16
from interspecies improvisation,502
improvisation and,183, 203, 228, 244
jazz as action and,183–84
of language compared to language creation,130
limits of,236
lived instant and,146
of queer histories,323
of the real,145
knowledge-base theories,9–10, 12
Koestler, Arthur,93
Konitz, Lee,532
Koshland, Daniel E.,168–69
Kreuser, Johann,248
Kroodsma, Donald,500–501
Kühn, Joachim,144, 151
Labanotation,346, 348n2, 351n43
labor productivity,411
economics and,411
The Labyrinths of Information: Challenging the Wisdom of Systems (Ciborra),14
Lacy, Steve,185, 192, 535
LaFaro, Scott,494n8
Lake, Oliver,183
Landgraf, Edgar,7
Lang, Harold,345
Langenschwarz, Maximilian,250–51
language,204–5. See also conversation; grammar; communication
communication through language,204
conversation and social practice with,94
emotions, music as language of,509
gendered,358, 360
iterability of,116
knowledge of compared to creation of,130
law of,131–32
music and evolution of,65
music and neuroscience connections to,84–85
music as,183
music’s relationship with,497–98
music cognition compared to cognition of,63, 64
oral improvisation and,248
poetry and,202
production, as improvisation,12
shared neural resources with music,65
language lab, slave ship as,137–38
“language music,”133, 139
lateral orbital prefrontal cortex (LOFC),60
Latour, Bruno,91–92, 102, 162
laughing thrush,503–5, 504f, 505f
anoriginal criminality and,128, 136
flight and,129, 137–39
of gender,116
imagination and,128
of improvisation according to W. Furtwängler),429
of language,131–32
mistakes and,121–23
recognition and,117
Lawler, D.,257
Layard, Richard,410
Lazzerato, Maurizio,207
in improvisation,380
in musical improvisation,48, 411
(p. 574) learning
African American social dance,333–35
of bird song,501
compared with copying,528
deutero-learning,291–93, 301n16
through improvisation,74–75
interval and,150
from mistakes,191
of musical improvisation,16, 57, 62, 120–21, 197–98
music and language compared,63
of social dance,334
theories of motor,40
Leary, Timothy,197
Lectures on Aesthetics (Hegel),148–49
Lefèvre, Jean,272
Leibowitz, Yeshayahou,525
Lepkoff, Daniel,314
Levin, Robert,62
Levinas, Emmanuel,450
Levinson, Jerrold,25n54
Lewis, George E.,
the AACM and,173
the Afrological and,51, 205, 430–31
comparing improvisation and indeterminacy,302
on Conduction,179n21, 211
on control,207
on exploring,208, 211
on improvisation and knowledge,202
interactive computer music of,18, 41, 51–52, 101–3
Lewis, John,425
Leybourne, Stephen,16
improvisation symbolic of,8
gendered, in improv comedy,360
Lidov, David,63
Limb, Charles,60, 80, 85, 406–7
The Lion in Winter,486
by birds,502
culturally contingent,78