- The Oxford Handbook of Critical Improvisation Studies
- Contributors to Volume 1
- Introduction: On Critical Improvisation Studies
- Cognitive Processes in Musical Improvisation
- The Cognitive Neuroscience of Improvisation
- Improvisation, Action Understanding, and Music Cognition with and without Bodies
- The Ghost in the Music, or the Perspective of an Improvising Ant
- The Improvisative
- Jurisgenerative grammar (for alto)
- Is Improvisation Present?
- Politics as Hypergestural Improvisation in the Age of Mediocracy
- On the Edge: A Frame of Analysis for Improvisation
- The Salmon of Wisdom: On the Consciousness of Self and Other in Improvised Music and in the Language that Sets One Free
- Improvising Yoga
- Michel de Montaigne, or Philosophy as Improvisation
- The Improvisation of Poetry, 1750–1850: Oral Performance, Print Culture, and the Modern Homer
- Germaine de Staël’s <i>Corinne, or Italy</i> and the Early Usage of Improvisation in English
- Improvisation, Time, and Opportunity in the Rhetorical Tradition
- Improvisation, Democracy, and Feedback
- Improvised Dance in the Reconstruction of <i>THEM</i>
- Improvising Social Exchange: African American Social Dance
- Fixing Improvisation: Copyright and African American Vernacular Dancers in the Early Twentieth Century
- Performing Gender, Race, and Power in Improv Comedy
- Shifting Cultivation as Improvisation
- Improvisation in Management
- Free Improvisation as a Path-Dependent Process
- Musical Improvisation and the Philosophy of Music
- Improvisation and Time-Consciousness
- Improvising <i>Impromptu,</i> Or, What to Do with a Broken String
- Ensemble Improvisation, Collective Intention, and Group Attention
- Interspecies Improvisation
- Spiritual Exercises, Improvisation, and Moral Perfectionism: With Special Reference to Sonny Rollins
- Improvisation and Ecclesial Ethics
Abstract and Keywords
This chapter draws on an agonistic background of Apollonian contest, judgment, and punishment to articulate a concept of improvisation impromptu. This concept is distinguished from the more familiar concept of improvisation extempore. The two concepts are drawn apart as a contribution to a critical theory that regards our lives, practices, and concepts as constantly contested. The argument interweaves ancient and contemporary philosophical discussions of improvisation (from Quintilian and Castiliogne to Schlegel, Nietzsche, Freud, Ryle, and Derrida) with discussions of the cutting contests of jazz and rap, with the cutting edge, Werktreue or perfectly compliant performances of classical musicians, and the deathly cutting down of Karaoke singers in the Philippines. Special attention is given to the 1940 film of the Harlem Renaissance Broken Strings.
Lydia Goehr is Professor of Philosophy at Columbia University. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford, 1992; second edition with a new essay, 2007); The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (Oxford, 1998); Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (Columbia University, 2008), and co-editor (with Daniel Herwitz) of The Don Giovanni Moment. Essays on the legacy of an Opera (Columbia University, 2006).
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