(p. xvii) Contributors to Volume 1
(p. xvii) Contributors to Volume 1
Philip Alperson is professor emeritus of philosophy at Temple University, where he is also a senior scholar at the Center for Vietnamese Philosophy, Culture, and Society. He was the editor of The Journal of Aesthetics and Art Criticism for ten years. His main interests are in aesthetics, the philosophy of the arts, the theory of culture, value theory, and theories of interpretation and criticism. A long-time jazz musician, he has special interests in the philosophy of music and philosophical questions concerning creativity, performance, improvisation, personal and musical authenticity, music education, and the cultural placement of music. Professor Alperson was the Styrian Endowed Professor at the Institute of Music Aesthetics at the Universität für Musik und darstellende Kunst in Graz, Austria, and Fulbright Scholar at the Sibelius Academy of the University of the Arts in Helsinki, Finland.
Freya Bailes is a lecturer in music at the University of Hull. Prior to her current appointment, she was a senior research fellow at the MARCS Institute at the University of Western Sydney, collaborating with Roger Dean on research into the perception and emotional expression of contemporary music and the role of leadership in musical improvisation. This research draws on Bailes’s previous postdoctoral experience at the Laboratoire d’Etude de l’Apprentissage et du Développement (Université de Bourgogne), the Cognitive and Systematic Musicology Laboratory (Ohio State University), and the Sonic Communications Research Group (University of Canberra). Her doctoral thesis, “Musical Imagery: Hearing and Imagining Music” (University of Sheffield), explored the nature and prevalence of musical imagery.
Daniel Belgrad is an associate professor in the Department of Humanities and Cultural Studies at the University of South Florida. His research focuses on post–World War II American culture. He is the author of The Culture of Spontaneity: Improvisation and the Arts in Postwar America (Chicago, 1998), which describes the intellectual and social currents informing the trend toward spontaneous improvisation in American art, music, and literature in the 1940s, 1950s, and 1960s that resulted in such movements as Abstract Expressionism, bebop jazz, and Beat poetry. In 2002 he won the Oscar O. Winther Award from the Western Historical Association. His current research interests include dance studies, biofeedback, and affect theory.
Aaron L. Berkowitz completed his PhD in music at Harvard University, his MD at Johns Hopkins University, and his postgraduate training in neurology in the Harvard Partners Neurology Residency. He is the author of The Improvising Mind: Cognition and (p. xviii) Creativity in the Musical Moment (Oxford, 2010). As a pianist and fortepianist, he has performed throughout Europe and the United States, and as a composer his compositions have been performed in Europe and the United States, including Carnegie Hall. He is currently an associate neurologist and director of the Global Neurology Program at Brigham and Women’s Hospital, an instructor in neurology at Harvard Medical School, and a health and policy advisor in neurology to nongovernmental organization Partners in Health.
David Borgo is a saxophonist, ethnomusicologist, and professor of music at the University of California, San Diego, where he teaches in the Music Department’s programs in Integrative Studies, Jazz, and Music of the African Diaspora. His primary areas of interest include improvisation, creativity research, technocultural studies, chaos and complexity theories, and non-Cartesian cognitive science. His book, Sync or Swarm: Improvising Music in a Complex Age (Continuum, 2005) won the Alan P. Merriam Prize in 2006 from the Society for Ethnomusicology as the most distinguished English-language book published during the previous year. As a saxophonist, Borgo has toured internationally and released eight CDs and one DVD.
Jared Burrows is a performer, composer, author, community organizer, and musical instigator in Vancouver, BC. He leads the Jared Burrows Quartet and Sextet and the Vancouver Improvisers Orchestra, and works in many other ensembles in jazz, new music, and world music. Jared is the head of the Jazz Studies Department at Capilano University, where he teaches improvisation and directs the new music ensemble Narwhal. Since 2008 he has co-curated Vancouver’s weekly Jazz at Presentation House concert series, and from 2003 to 2013 was co-director of the South Delta Jazz Festival. He holds a PhD in arts education from Simon Fraser University. www.jaredburrows.com.
Yves Citton is professor of French literature at the Université de Grenoble, a member of the UMR LIRE (CNRS 5611, Littérature, idéologies, représentations, XVIIIe-XIXe siècles), and co-director of the journal Multitudes. He taught for twelve years in the Department of French and Italian of the University of Pittsburgh, and has been an invited professor at New York University, Harvard, and Sciences-Po Paris. He recently published Pour une écologie de l’attention (Seuil, 2014), Gestes d’humanités: Anthropologie sauvage de nos expériences esthétiques (Armand Colin, 2012), Renverser l’insoutenable (Seuil, 2012), Zazirocratie (Éditions Amsterdam, 2011), and Mythocratie: Storytelling et imaginaire de gauche (Éditions Amsterdam, 2010), along with a dozen articles on jazz and collective improvisation.
Arnold I. Davidson is Robert O. Anderson Distinguished Service Professor at the University of Chicago and professor of the philosophy of cultures at the Università Ca’Foscari Venezia. He is also the jazz critic for Il Sole 24 Ore Domenica. He is the series editor of the English language edition of Michel Foucault’s courses at the Collège de France and has contributed to critical editions of several of Foucault’s works in French. He has also edited works of Pierre Hadot in English, French, and Italian, as well as coauthored a book of conversations with Hadot, La philosophie comme manière de vivre (p. xix) (Albin Michel, 2004). Among his other works are The Emergence of Sexuality (Harvard, 2004) and Religión, razón y espiritualidad (Alpha Decay, 2014). His major writings are in Italian, French, and Spanish, as well as in English.
Roger T. Dean is a composer/improviser and researcher in music cognition and computation. His performances on the bass, piano, and laptop range from the Academy of Ancient Music to the London Sinfonietta; his improvising collaborations, from Ted Curson to Evan Parker. Dean’s work is available on 50 commercial recordings and many multimedia and installation pieces (with Keith Armstrong, Will Luers, Hazel Smith, and others). His creative work centers on keyboard/ensemble improvisation and computer music composition. These merge in his solo MultiPiano Event (live grand piano, real-time audio processing, generative piano, and electroacoustic sound). He founded the ensemble austraLYSIS, which has performed in 30 countries, and has previously been a research biochemist, foundation director of the Heart Research Institute, and vice-chancellor and president of the University of Canberra.
Thomas F. DeFrantz is chair of African and African American Studies at Duke University, and director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. His books include the edited volume Dancing Many Drums: Excavations in African American Dance (Wisconsin, 2002), Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture (Oxford, 2004), and Black Performance Theory, co-edited with Anita Gonzalez (Duke, 2014). A director and writer, he is the former president of the Society of Dance History Scholars.
William Duggan is on the faculty of Columbia Business School, where he teaches strategic intuition in MBA and Executive MBA courses and Executive Education sessions. In 2007 the journal Strategy+Business named his book, Strategic Intuition, “Best Strategy Book of the Year.” Professor Duggan has also given talks and workshops on strategic intuition to thousands of executives from companies in countries around the world. He has BA, MA and PhD degrees from Columbia University.
Angela Esterhammer is principal of Victoria College and professor of English and comparative literature at the University of Toronto. Her publications include Creating States: Studies in the Performative Language of John Milton and William Blake (Toronto, 1994), The Romantic Performative: Language and Action in British and German Romanticism (Stanford, 2000), Romanticism and Improvisation, 1750–1850 (Cambridge, 2008), and the edited volumes Romantic Poetry (John Benjamins, 2002) and Spheres of Action: Speech and Performance in Romantic Culture (Toronto, 2009). Her current research examines interrelations among improvisational performance, print culture, periodicals, and fiction in the early nineteenth century.
Susan Leigh Foster, choreographer and scholar, is distinguished professor in the Department of World Arts and Cultures/Dance at UCLA. She is the author of Reading Dancing: Bodies and Subjects in Contemporary American Dance (California, 1986), Choreography and Narrative: Ballet’s Staging of Story and Desire (Indiana, 1996), Dances (p. xx) that Describe Themselves: The Improvised Choreography of Richard Bull (Wesleyan, 2002), and Choreographing Empathy: Kinesthesia in Performance (Routledge, 2010). She is also the editor of three anthologies: Choreographing History (Indiana, 1995), Corporealities (Routledge, 1996), and Worlding Dance (Palgrave Macmillan, 2009). Three of her danced lectures can be found at the Pew Center for Arts and Heritage website, http://danceworkbook.pcah.us/susan-foster/index.html.
Michael Gallope is an assistant professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. His research examines music and sound from a problem-based perspective that brings together the disciplines of philosophy, critical theory, aesthetics, and cultural history. He taught previously at the University of Chicago, where he was a member of the Society of Fellows, and at New York University, where he completed his PhD in historical musicology. As a practicing musician, he has worked in a variety of genres from avant-garde composition, experimental music, and free improvisation to rock and electronic dance music.
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, 1992/2007); The Quest for Voice: Music, Politics, and the Limits of Philosophy (Oxford, 1998); and Elective Affinities: Musical Essays on the History of Aesthetic Theory (Columbia, 2008); and co-editor with Daniel Herwitz of The Don Giovanni Moment: Essays on the Legacy of an Opera (Columbia, 2006).
Danielle Goldman is an assistant professor of critical dance studies and dance program coordinator at Eugene Lang College, The New School. She is the author of I Want to Be Ready: Improvised Dance as a Practice of Freedom (Michigan, 2010), and she has published articles in Dance Research Journal, Dance Research, Etcetera, Movement Research Performance Journal, The Drama Review, and Women & Performance. She has danced with DD Dorvillier and Beth Gill.
Garry L. Hagberg is the James H. Ottaway Professor of Philosophy and Aesthetics at Bard College. His books include Meaning and Interpretation: Wittgenstein, Henry James, and Literary Knowledge (Cornell, 1994) and Art as Language: Wittgenstein, Meaning, and Aesthetic Theory (Cornell, 1995); his most recent book is Describing Ourselves: Wittgenstein and Autobiographical Consciousness (Oxford, 2011). He has edited Art and Ethical Criticism (Blackwell, 2008), co-edited A Companion to the Philosophy of Literature (Blackwell, 2010), and is editor of the journal Philosophy and Literature. He is also co-author of The Guitar Compendium: Technique, Improvisation, Musicianship, Theory (three vols., Advance, 1989), is presently working on a book on aesthetic issues in jazz improvisation, and continues to record as a jazz guitarist.
Timothy Hampton teaches comparative literature and French at the University of California at Berkeley. He has written widely on literature and politics, focusing primarily on early modern Europe. Among his publications are Fictions of Embassy: Literature and Diplomacy in Early Modern Europe (Cornell, 2009), “La foi des traités” (Yale French (p. xxi) Studies, 2013), and “Tangled Generation: Dylan, Petrarch, Kerouac, and the Poetics of Escape” (Critical Inquiry, 2013). His current projects touch on the history of the emotions and on popular music.
Paul Ingram is the Kravis Professor of Business at the Columbia Business School and faculty director of the Columbia Advanced Management Program. The courses he teaches on leadership and strategy benefit from his research on organizations in the United States, Canada, Israel, Britain, China, and Australia. His research has been published in more than fifty articles, book chapters, and books. Ingram’s current research projects examine the structure and impact of executives’ professional values, the impact of income inequality on life satisfaction, and the question of how social structure and culture influenced participation in the Liverpool slave trade.
Vijay Iyer is a pianist, composer, improviser, bandleader, and electronic musician, and the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University. He holds an interdisciplinary PhD in Technology and the Arts from the University of California, Berkeley. His recent honors include a MacArthur Fellowship, a Doris Duke Performing Artists Award, a Grammy nomination, and the Pianist of the Year award in the DownBeat International Critics Poll. He has published in Music Perception, Journal of Consciousness Studies, Critical Studies in Improvisation, and various anthologies, and has released nineteen recordings as a leader.
Anthea Kraut is an associate professor in the Department of Dance at the University of California, Riverside, where she teaches courses in critical dance studies. Her first book, Choreographing the Folk: The Dance Stagings of Zora Neale Hurston (Minnesota, 2008), received a Special Citation from the Society of Dance History Scholars’ de la Torre Bueno Prize® for a distinguished book of dance scholarship. Her next book, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, is forthcoming from Oxford University Press.
George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, his honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015). A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s creative work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, International Contemporary Ensemble, and others. His widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (Chicago, 2008) received the American Book Award and the American Musicological Society’s first Music in American Culture Award. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.
Tracy McMullen is an assistant professor of music at Bowdoin College and an improvising musician (saxophone). Her teaching and research engage a variety of issues in popular music, jazz, and American culture. Her articles have appeared or are forthcoming (p. xxii) in journals including Current Musicology, The Journal of Popular Music Studies, and Critical Studies in Improvisation/Études Critiques en Improvisation; the edited volumes Big Ears: Listening for Gender in Jazz Studies (Duke, 2008); and People Get Ready: The Future of Jazz Is Now (Duke, 2013); and the reference works The Encyclopedia of African American Music, The Encyclopedia of African American Culture, The Oxford Handbooks Online in Music; and the Grove Dictionary of American Music.
Fred Moten lives in Los Angeles and teaches at the University of California, Riverside. His books include In the Break: The Aesthetics of the Black Radical Tradition (Minnesota, 2003), Hughson’s Tavern (Leon, 2008), B. Jenkins (Duke, 2010), The Undercommons (with Stefano Harney; Autonomedia, 2013), The Feel Trio (Letter Machine, 2014), and The Little Edges (Wesleyan, 2014).
Glyn P. Norton is Willcox B. and Harriet M. Adsit Professor of International Studies, Emeritus, at Williams College. He is the editor of Volume 3 (The Renaissance) of The Cambridge History of Literary Criticism (2008), and author of Montaigne and the Introspective Mind (Mouton, 1975), The Ideology and Language of Translation in Renaissance France and Their Humanist Antecedents (Droz, 1984), and numerous essays on French Renaissance and neo-Latin rhetoric, literature and criticism, and Quintilian. He has received fellowships and awards from the Guggenheim Foundation, The National Endowment for the Humanities, and the École Normale Supérieure. He is currently completing a book, Eloquence Beside Itself: The Theory and Art of Improvisation in the French Renaissance and Neoclassical Texts.
Gary Peters is professor of critical and cultural theory at York St. John University, England. His books include Irony and Singularity: Aesthetic Education from Kant to Levinas (Ashgate, 2005) and The Philosophy of Improvisation (Chicago, 2009). He is currently working on a book entitled Improvisations on Improvisation (also Chicago). With his wife Fiona Peters, he co-edited Thoughts of Love (Cambridge Scholars, 2013). He plays the pedal steel guitar and has performed with improvisers such as Lol Coxhill, Steve Beresford, Veryan Weston, and John Stevens.
Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960, and an associate professor of musicology at Cornell University. He is the author of Experimentalism Otherwise: The New York Avant-Garde and Its Limits (California, 2011) and the editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (Michigan, 2014). With David Nicholls, he co-edited a special issue of Contemporary Music Review for John Cage’s 100th birthday. He has published articles in Jazz Perspectives, The Drama Review, American Quarterly, Twentieth-Century Music, Cultural Critique, and the Journal of the American Musicological Society.
Alexandre Pierrepont, an anthropologist whose work focuses on the concept of diversalité and the phenomena of internal otherness in Western societies—more specifically on African American music as an alternative social institution—divides (p. xxiii) his time between North America and France, between different “jazz worlds” and the academy. He is an associate researcher for the laboratories CANTHEL (Centre d’anthropologie culturelle) at the Human and Social Sciences Faculty at the University Paris 5—Sorbonne, and CERILAC, Centre d’étude et de recherche interdisciplinaire de l’UFR (lettres, arts et cinema) at the Department of Literature, Arts, and Cinema at the University Paris 7—Denis Diderot, and served as postdoctoral fellow at the Improvisation, Community, and Social Practice group at McGill University.
Clyde G. Reed is professor emeritus in the Department of Economics at Simon Fraser University. He received his PhD in economics from the University of Washington. His recent work on inequality was published in the Journal of Political Economy and the European Review of Economic History in 2013. As a double bass player, Reed has performed at major jazz festivals in North America and Europe. Recent recordings with the Rich Halley 4, Back From Beyond (2012) and Crossing the Passes (2013), received prestigious 4-star reviews in DownBeat.
Paul Richards was professor of anthropology at University College London and professor of technology and agrarian development at Wageningen University, The Netherlands. He retired in 2010 and is now director of junior faculty research programs at Njala University, Sierra Leone, where he runs several research projects on post-conflict social and institutional change. His books include Coping with Hunger (Unwin Hyman, 1986) and Fighting for the Rain Forest (Heinemann, 1996). His recent articles include items on war as performance, the distribution of witchcraft cases in post-war settlements around the Gola forest, and social pathways for Ebola Virus Disease in Sierra Leone.
Philosopher and musician David Rothenberg is the author of Why Birds Sing (Basic, 2005), now published in eight languages and turned into a feature-length BBC TV documentary. Rothenberg has also written Thousand Mile Song (Basic, 2008), about making music live with whales, Survival of the Beautiful (Bloomsbury, 2011), on evolution and beauty, and Bug Music (St. Martin’s, 2013), on insects and their million-years old music. His music, recorded on ECM, Gruenrekorder, and the Terra Nova labels, usually involves an integration with his clarinet improvisations with live and recorded natural sounds. Rothenberg has issued nine CDs under his own name. He is professor of philosophy and music at the New Jersey Institute of Technology. www.davidrothenberg.net
Amy Seham is the author of Whose Improv Is It, Anyway? Beyond Second City (Mississippi, 2001), a book analyzing the workings of gender, race, and power in six important improv troupes in Chicago. She has given workshops on “Resisting Stereotypes in Improv” at Second City-Toronto, Fringe Benefits, The Funny Woman Festival, and numerous universities across the United States. Director, playwright, and coach, Seham is a professor of theater and dance at Gustavus Adolphus College, in a program that focuses on performance for social justice. She lives in St. Peter, Minnesota, with her daughter, Miranda. (p. xxiv)
Erik Simpson is professor of English at Grinnell College. He is the author of Literary Minstrelsy, 1770–1830: Minstrels and Improvisers in British, Irish, and American Literature (Palgrave Macmillan, 2008) and Mercenaries in British and American Literature, 1790–1830: Writing, Fighting, and Marrying for Money (Edinburgh, 2010), in addition to articles on British literature, transatlantic literature, and the use of digital technologies in undergraduate teaching.
Davide Sparti has written 11 books and over 90 articles in journals such as the Deutsche Zeitschrift für Philosophie, European Journal of Social Theory, European Journal of Philosophy, Philosophy and Literature, and Philosophy and Social Criticism. Co-founder of the journal Studi culturali, Sparti’s work deals with the epistemology of the social sciences and the relation between identity and recognition, as well as improvised action, Wittgenstein, Cavell, and Foucault. After having taught at the Universities of Milano and Bologna, he is currently professor at the University of Siena. Sparti is a fellow of the Humboldt Stiftung and the Collegium Budapest and holds a PhD from the European University Institute.
Samuel Wells is vicar of St. Martin-in-the-Fields, Trafalgar Square, and visiting professor of Christian ethics at King’s College, London. He was previously dean of the chapel and research professor of Christian ethics at Duke University. He is the author of 22 books in ethical, devotional, and exegetical fields, including Improvisation: The Drama of Christian Ethics (Brazos, 2004), God’s Companions: Reimagining Christian Ethics (Blackwell, 2006), Learning to Dream Again (Eerdmans, 2013) and A Nazareth Manifesto: Being with God (Wiley-Blackwell, 2015).