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date: 18 November 2019

(p. 541) Index

(p. 541) Index

abcdefghijklmnopqrstuvwxyz (Piringer), 371
Abdalla, Reda, 243
Abell, Walter, 149n33
Abraham, Otto, 170–71
Abrams, Muhal Richard, 218
abstract expressionism, 322
abstract machine, 43, 45, 493–95,
accessibility
of internet spaces, 483
of literary improvisation, 312
of musical improvisation, 116–17, 188
“Actions of Transfer: Women Performing Across the Americas” conference, 476
adhocism, 5
Adorno, Theodor
critiques of jazz, 10
on improvisation, 208, 289–90, 298n11
spontaneous listening and, 221
aesthetics
African-American, 339
Cageian, 208–9
communities and, 181
computer algorithms and, 17–18, 395, 509, 515
cultural plunder and, 388
emotions and, 231–32
ethico-political, 497
ethics and, 497, 499
of the fantasy, 191, 195, 267
game design and, 395, 462
of genius, 7
of imperfection, 4, 6, 25n77
improvisation and, 6, 105, 398
of innovation, 303, 515
of interactive artworks, 402, 413
of James Joyce, 288
literary, influenced by blues and jazz, 310, 339–340, 354n8
of modernism, 295–96
of musical performance with improvisation, 265–66, 268, 271
of the musical work, 186–87
open-ended, in Pound, Olson, and Joyce, 312
of perfection and imperfection, 6
politicized aesthetic, 240, 497–98
of Ezra Pound, 288
slave culture and, 290
social, 18–19
social justice and, 313
of spontaneity, 311
of urban space, 62
African American music. Also see black music
bebop and identity of, 323
embodiment in, 357n50
free improvisation problems for jazz tradition and, 218–19
influence of, 207, 288
African American literature, 296, 303, 310
blues idiom and, 339, 354n8
expressive practices and, 356–57n46
“Signifyin(g)” and, 313–14
and social reform, 316
African Americans
aesthetics of, 339
computer systems, cultural influence of, 373–74, 388
constructions of color, 351
creative music of, 218
cultural tropes and styles of, 6, 12
debates on race and alienation among, 338–39 (p. 542)
in experimental music, erasure of, 219
improvisation and, 307, 310
nineteenth-century attitudes toward music of, 291–92
oral traditions of, 350
sound poetry of, 368
African Americans (New Orleans)
disproportionate imprisonment of, 90
improvisation as response to post-Katrina issues by, 77, 80
issues with police among, 82, 90
media representation of, 81
parading and social struggles among, 92
second line history and shifting social conditions of, 76–77
self-help and public performance traditions among, 89
struggles against biopolitical projects, 77, 80–82, 88–89, 91–92
West African and European ritual as influence on, 78
agency
avataristic, 439
composition and system, 390–91, 391f
computational systems and, 122, 361, 385–86, 389–97, 511
cultural, 314
dynamics, 392, 392f, 395–96
free will and, 390
human and material, 9
improvisation and individual, 196, 389
improvisation and user, 389–90, 419
performing and, 49
play, 387, 391–92, 392f, 397
relationship, 392–94, 392f
scope, 392, 392f, 394–95
social factors and, 319
structure enabling, 49
agile project management (APM), 16
Agre, Philip, 15–16, 409
agricultural improvisation, 46f
Ajjān, Maḥmūd, 235
Albright, Daniel, 286
aleatory
computer programs and, 436
critiques of, 212–13, 497
improvisation and, 10, 208, 212
literary modernism and, 293
music, 210–11
algorithms, 515
architectural, 51
genetic, 403, 413, 417, 519–20
improvising, 17, 385
live, for interactive music, 18, 507
process control, 17
search, 17
story generation, 121
text generation, 360–61, 370–76
alienation, Wideman on African Americans and, 338–39
Allen, Barbara, 174
Allen, Stan, 63–65
Allende, Isabel, 306
allographic practices, architecture and, 65
alternate reality games (ARGs), 449, 464n22
amateurs (Liebhaber), 196–97, 275
American Civil Liberties Union (ACLU), 82, 84, 87
Amin, Ash, 39
AMM, 216, 218
Amram, David, 326, 333n27
anarchy, Cage and, 210
Anderson, Anna, 431–32, 436–38, 437f, 441n2, 443n34
Anderson, Laurie, 427, 429–31, 440
Anderson, Michael, 96n44
Andrews, Glen David, 84
Antin, David, 363–65
Apel, Willi, 258–59
appropriation
art and, 161–63, 292
authorship compared to, 446
Arab modal improvisation, 236–37
aesthetics of, 236
fusion with other traditions in, 240–43, 246n18
intuition and, 237, 244
learning process, 237–38
use of fixed-tone instruments in, 245n7
use of referents in, 231
(p. 543) Arab musical culture
freedom and spontaneity in, 235
improvisation and, 233–39, 243–44
notions of talent and inspiration in, 233–34
relation to innovation of, 238
architecture. See also urban design, improvisation technology for
allographic practices and, 65
Available City allowances for, 68–69, 69f
diagrammatics of, 47, 51, 62
everyday improvisation and, 59
healthy space and, 53
improvisation and, 57–58, 63–65
musical improvisation techniques for, 65–66
notation assisting, 65
poetry of, 61
planning and, 49
regulation of space in, 53
representation limits of, 64–65
traditional model of, 49
Aristotle, 263
Armstrong, Louis, 290, 295–96
art. See also interactive art
appropriation and, 161–63
borrowing and, 159, 161–63
context and, 239
creatio ex improvisation and, 157–63
creativity and, 156
dependency and, 161–62
divine inspiration and, 153–56
genius and, 154–55, 160, 163n9
God and, 156–57
interactive, 404–5
life and, 322
myth and, 157, 160, 324–25
originality and, 159, 161
play and, 159–60
resistance and, 157
surprises and, 405
talent in, 233
Artaud, Antonin, 424
Art Ensemble of Chicago, 218
Artificial Intelligence (AI), 411–12
Artificial Life (AL), 412–14
Artificial Life Art, 403
Ashbery, John, 365
Ashby, Ross, 416
Ashley, Robert, 220
Asian philosophy, influence of, 209, 215
Assala, 243
assimilation
jazz and, 323, 357n51
mastery narrative and, 107–8
Association for the Advancement of Creative Musicians (AACM), 218, 225n67
Atlanta Poets group, 367, 369
atonal logic, 44–45
audience, 194
bodies of, 470
as community, 181
contemporary poetry improvisation and interaction with, 362–63
decline of improvisation and disinterest of, 185–86
deindividuation and, 110
democratization of, 186–87, 197, 199
for experimental improvised music, 199
freedom challenges for relationship with, 220–21
improvisation of literary genres and interaction with, 30
influence of, 220–21, 254, 255
interaction with, 190–192, 195, 220, 310, 250, 254, 268, 296, 330
listening and, 221, 514
lack of, in online spaces, 430
mobile devices and participation of, 537, 538f
New American Cinema and engagement of, 330–31
racial composition of, 329
relationship with, 331, 362, 364, 369, 432, 446, 463, 480, 488, 498, 507, 510
social music improvisation and participation of, 537, 538f
television, 472
transcendence with, 141
“aural tradition,” 169
Aurelian of Reôme, 259
Aurobindo, Sri, 134
Ausführung (execution), 271
Austen, Jane, 162
(p. 544) austraLYSIS, 371
authorship
appropriation compared to, 446
contested notion of, 8, 220
emergent, 445, 451f, 456
automatisms, 210
autonomy
of avatars, 427
of computational agents/systems, 123, 372, 391, 393–95, 406, 415, 416–17
and emergence, 451
and freedom, 419
improvisation and, 13, 198, 214, 498
live algorithmic music and, 511, 522–23
of the present moment, 135
self-affirming, 497
of users of computational systems, 403
Western ideal of, 438
autopoiesis, 492, 496–98, 502n50
“auto-tune,” 532
Available City, Chicago
architecture allowances for, 68–69, 69f
infill development compared to, 70
potential impact of, 69–70
repeatability of, 70–71
scalability and flexibility of, 68
size of impact in, 68
time frame of, 68–69
urban design possibilities from, 71–72
vacant lots and proposals of, 66–68, 67f
Avakian, George, 295
avant-garde, 302, 500n18
art, 311
audience support for, 331
composers, 207
film, 324
Fluxus as, 1
improvisation and, 290, 316–18, 411
movements, 291, 293
music, 206, 218
spontaneous methods and, 489
Avatar (film), 450
avatars, 415–16
Laurie Anderson as, 430–31
avatarism, 426–29, 441n8
cyborg, 372
human/animal, 450
legal personhood and, 434–35
as mask, 428–29, 442n12
MMORPGs and, 452
name chosen by male cohort, 441n8
real-world and, 438–39
in the Palace, 474–75
in Second Life, 459
social construction of, 460
stereotypy and, 441n9
subjective computing and, 385
Avolve, 403, 417
Bach, C. P. E., 265–66, 275, 277. See also Versuch
Bach, Johann Sebastian, 154–55, 159, 276
Bailey, Derek, 3, 9, 22n25, 251–52, 255n3, 290
Baker, Mary, 424, 425f
Bakhtin, Mikhail, 347
Baldwin, James, 339
Bandur, Markus, 262
Barad, Karen, 403, 420n3
Baraka, Amiri, 314, 339, 384
Barenboim, Daniel, 103, 108, 116
Barkechli, Mehdi, 175
Baroque music, Romantic music compared to, 158–59
Barrett, Frank, 25n77
Bartlett, Frederick C., 264
Basie, Count, 340–43
Basinski, Michael, 369
Bassard, Kathleen Clay, 318n8
Bates, Joe, 418
Bateson, Gregory, 454
Batteux, Charles, 154–55
Bayard, Samuel, 173
bazm, 233
Beat Generation, 325, 489
the Beatles, 159
bebop, 332n10. See also jazz
African American identity and, 323
as experimentalism, 218
Kerouac and, 326
New American Cinema and, 323–26, 328
Pull My Daisy and, 323
quotation and, 347
race and, 329
Shadows and, 323, 329–330
La Monte Young and, 213
Becker, Judith, 141–42
Beckett, Samuel, 486, 495
(p. 545) Beethoven, Ludwig van, 188–90, 273, 275
Beggar’s Opera (Gay), 295
beginnings
biogrammatics and, 499
of a musical phrase, 158, 235, 264, 384
origin compared with, 157, 159
theological interpretation of, 154
Belgrad, Daniel, 311–12, 318, 500n18
Beloved (Morrison), 317
Benjamin, Walter, 285, 350
Benson, Bruce Ellis, 5
Benson, Cara, 368–69
Benson, Steve, 364–65
Berg, Alban, 385
Berkowitz, Aaron L., 252, 357n51
Berliner, Paul, 9, 14
on musical improvisation, 40, 180
on musical quotation, 347, 350
Bernstein, Charles, 362–63
Big 7 Social Aid and Pleasure Club parade, 92–93
Big Daddy Kane, 250
biograms, 495–97
biology, improvisation and, 410
biopolitics
in Hurricane Katrina response, 80–81, 89
struggles against biopolitical projects, 77, 80–82, 88–89, 91–92
Bizet, George, 156
Black, Max, 279n38
Black Men of Labor SAPC, 86, 87f
black music, 292. Also see African American music
central to Wideman’s novel, 353
influence on modernist literature, 288–91, 293
importance of voice in, 296
necessary for reconstruction of New Orleans, 87
Black Tool Collective, 370
Blackwell, Tim, 17–18
Blast!, 298n20
Blonk, Jaap, 367
blood oxygen level dependent (BOLD), 255n5
blues, 310, 314
basis for novel by Wideman, 340
cyclical form, 141
Dada inspired by, 291
jazz roots in, 296
literature influenced by, 310
Munir Bashir influenced by, 239
poetics, 314
rock n’roll borrowings from, 159, 162
blues idiom, 339, 343, 345–46, 350, 353
Albert Murray’s concept of, 339, 354n8
Blum, Stephen, 11, 263
Boden, Margaret, 508–9, 520
body, the
abuse of Aunt Hester’s, 307
American mores and, 329
avatarism and, 427–28
awareness and meditation as effects on, 214
biogrammatics and, 496
changes to, during musical performance, 252
conceptual blending and, 374
as creative force, 489
the cyborg and, 418
DT and, 474–75
imposture and, 436
improvisation and, 470
intersection of language and, 486
lived experience and, 495
liveness and, 469
EL NAFTAZTECA and, 471–72
OPEN_BORDERS Lounge and, 478–79
out-of-body experiences, 149n36
personhood and, 438–39
proprioception and, 489, 498
Pull My Daisy and liberation of, 325, 327–28
relationship with mind, 133
robotic, 418
telematic improvisation and, 470
text-sound’s relationship to, 365, 370
Bolden, Tony, 310, 313–14, 317
Boots, 252
borders, 475
crossing, in performance, 472, 475, 477, 481, 482
of the epidermis, 480
DT and, 475–76
EL NAFTAZTECA and, 472–73
OPEN_BORDERS Lounge and, 479–82
national, 475
telematic improvisation and, 470
US-Mexico, 472, 481
(p. 546) Borgo, David, 148n23
Born, Georgina, 8
Boroumand, Nour-Ali, 180
borrowing
art and, 159, 161–63
from everyday life, 105
in gaming, from fantasy-genre literature, 447
Boucourechliev, André, 213
Boulez, Pierre, 162, 220
aleatory music and, 210–11, 223n24
Bourdieu, Pierre, 9, 432, 434
Bowker, Geoffrey, 388
Brahms, Johannes, 141
brain
study of, in rap emcees, 253
Braque, George, 162
Brathwaite, Edward Kamau, 293, 384–85, 397
Braxton, Anthony, 66, 218
Brecht, Bertolt, 295–96
Brenneis, Lisa, 470, 473, 483n15
Breunlin, Rachel, 81
bricolage
in economic management, 16, 26n92
in management systems, 14, 16
in improvisation technology, 40
Bronson, B. H., 173
Brooks, Rodney, 413
Broomfield, John, 142
Brown, Robert E., 180, 212
Buckner, Edward, 93
Buddhism, 141
Burrell, Kenny, 241
Busoni, Ferruccio, 207
Butler, Judith, 8
Buuck, David, 369
Cabaret Voltaire, 290–91
Cage, John, 10, 25n62
aleatory and, 210–11, 223n24, 436
anarchy and, 210
chance in work of, 209, 223n24
conventional musical improvisation challenged by, 231
improvisation and, 209–10, 215–16
indeterminacy and, 208–9
jazz and, 25n62, 209
studies of Asian philosophies, 209
Caillois, Roger, 454
Calder, Alexander, 212
Calvino, Italo, 385
Cameron, James, 450
Canibus, 250–51, 256n8
Canonne, Clément, 18
Cantos (Pound), 293
Captain Goodnight, 396
Cardew, Cornelius, 216, 221
CarianaCarianne, 435–36
Cariani, Peter, 413–14
Carnatic (Karnatic) music, 1, 178, 180, 213, 410
Carruthers, Ben, 330, 334n61
Carruthers, Mary, 263–64, 273
Carter, Curtis L., 11
Carter, Daniel, 57, 65–66
Caruth, Cathy, 305
Cassavetes, John, 323, 330, 334n47
Cassirer, Ernst, 275
CataRT, 519
The Celebration, 449
Célestin Deliège 10
chance, 314, 489, 492
and musical indeterminacy, 208–210, 212–13, 223n24, 287
and necessity, 494
chant, improvisation in medieval studies and, 258–61, 260f, 265
Chaplin, Charlie, 59
character
creation, in role playing, 456–59
digital, 121, 123, 126–27, 384, 390–96, 445,
improvisation of, 330, 331n4, 363
urban, 61
character performance, in role playing, 459–60
Charity, Tom, 334n44
Charity Hospital, closure of, 80, 91
Charlie and the Chocolate Factory, 103
Charters, Ann, 500n16
Chase, John, 59
cheek, chris, 369–70
Chicago Improv Festival, 127
Child ballads, 173
(p. 547) Chopin, Frédéric, 197
Christian, Charlie, 333n26
Christianity, 153–57
Ciborra, Claudio, 14–15
cinema. Also see New American Cinema
improvisation and, 323, 324f, 328f, 331n4
spontaneous, 322, 324f
cipher, in freestyle rap, 250, 254–55
circular breathing, 350
Citton, Yves, 7
city, the. See also urban design
economic development models in, 60–61, 70–71
informed by improvised music, 66
improvisation and, 39, 58–59, 61, 63, 65, 71
improvisation technology for coevolution of problems and solutions in, 46, 46f
new conditions of, 39
notations and, 43, 45, 65
organizational theory and, 52–54
as performances, 40, 48
qualities of space in, 45–47
as virtual object, 40
visual complexity of, 61
walking and improvisation in, 57–58
Clarke, Eric F., 27n102
clavier, Versuch on, 277
“A Clear Field: The Idea of Improvisation in Modern Poetry” (Pastras), 288
Clementi, Aldo, 211
clones, of Anderson, Laurie, 429–31, 442n20
Closer (Kozel), 478–79
co-creation
in computational systems for interactive narrative, 122–23
in role-playing, 446
cognition
Digital Improv Project studying, 124
infrastructure for, 516
modeling improvisational, 125
phantasms and, 398n1
remote, 149n36
cognitive
dissociations and creativity, 256
linguistics, 373, 374, 419
modeling of perceptual and generative processes, 104, 125, 515
Coleman, Ornette, 209, 355n31
Coleman, Wanda, 368
Coleridge, Samuel Taylor, 161
collaboration
between audience and poet, 362
civic engagement through improvisation and, 77
by colonial organisms, 412
with computers in improvisation, 18, 507, 512, 520
conversation as, 12
as element in Wideman’s characters, 339, 341, 343, 348–51, 353
freestyle rap as, 255
improvisation as, 12, 104, 109
between Kerouac and Amram, 333n27
in mobile music interactions, 529, 534–35
modernist, 291, 294, 298n19
musical fusion and, 240–42
with musicians, 363, 367–68
as process by Musical Elettronica Viva, 216–17
in Pull My Daisy, 326
second line as, 92
story creation as,
by users of interactive systems and games, 416, 453, 459, 461
Kurt Weill and, 295
collaborative emergence, 12
collaborative singing, social music improvisation and, 534–35, 535f
collective
collective intention, 6
consciousness, group meditation and, 145–47
determination of conversation, 12
forms of agency, 7
improvisation, 7, 66, 136
improvisation of rumor, 15
improvisation with computers, 18
improvisation in the city, 63, 80
merging by improvisors in peak performance, 133–34
mind, 133–34
spaces in the city, 68–70
Collective Free Improvisation (CFI), 18
colonial organisms, 412
Coltrane, John, 140, 144, 244, 397
(p. 548) Columbia University Society of Hip-Hop (CUSH), 251, 255n4
combinatoric emergence, 413–14
Come out and Play festival, 464n22
commercial publishing, decline of improvisation and, 196
communication
the city as a center of, 53
human-computer, 417
intercultural, and improvisation, 244
improvisation and, 307, 376
and micro-agents, 124
musical improvisation and, 105, 113, 115
technology and, 469
communities of play. See play communities
community
activism, 87, 90, 93
alternative forms of, 77
Baroque music and, 158
gaming, 450
jazz musicians and audiences as, 181
mobile devices and, 529, 534
music, growth of, 114
policing, 89
performances as producing, 188, 197, 366
seen as disposable, 87
socially shared notions of, 386
of storytellers and listeners, 350
comparative musicology, 169
componere, 262–63
compositio, 262
composition, 170–71, 206f
aleatory, 210
in architecture, 62
chance, 209
of chant, 259
in the eighteenth century, 188
field (Charles Olson), 491–92, 494–95
film and, 325
free fantasy and, 189
improvisation compared to, 3, 5, 8, 10–11, 13, 132, 135–37, 140, 182, 207, 261–62
intuition and, 272–73
jazz as combining improvisation and, 143
literary, 288–89, 306, 310–13, 316, 318, 366, 371
music-making and, 188
open form, 212
real-time, 10, 142, 217
relationship to improvisation, 171–72, 176, 188, 190, 207, 214, 231, 270, 385, 389f
spontaneous, 2, 263, 288–89, 498, 524
in subjective computing and system agency, 390–91, 391f
time and, 135
transcendence and, 136–41
weak spans of, 137–38
computation, 15–18
emergency management and, 17
empiricism and, 125, 128
live algorithms as, 515, 523
musical creation and, 508
computational
the biological and, 412
formalisms, 121, 128
modeling, 124–25, 413
poetry creation and, 419
computational interactive narrative. See interactive narrative
computers. See also interactive art; live algorithmic music; subjective computing
African influence on, 373
agency of, 122, 361, 385–87, 390–93, 397, 419, 511,
algorithmic text generation and, 372–76
contemporary poetry improvisation and, 360, 370–76
creativity and, 361, 405, 411–12
improvisation and, 18, 361, 370, 372, 375–76, 387, 402, 415, 417, 507
as instruments, 509–11
interaction with humans, 18
MIDIPOET and, 371–72
in musical performance, 217, 509–11, 519
reliability and, 405
sonic cross-dressing and, 371
voicescapes and, 371
conception, retensive-protensive, 140, 148n21
conceptual blending, 374
Concert for Piano and Orchestra (Cage), 208
Concerto Grosso for Human Concertino and Robotic Ripieno (Teitelbaum), 217
“cON cRETE pOETRY” (Jhave), 373
conduction, musical improvisation and, 66
(p. 549) Congress of Vienna, 195
connoisseurs (Kenner), 196–97, 275
Connolly, Billy, 103, 116
consciousness. See also time-consciousness
discarnate, 149n36
as foundational, 149n38
group meditation and collective, 145–47
intersubjective, 145–46
ordinary, 132, 134, 137–38
remote cognition and, 149n36
states of, 133
temporality and, 132–33
unified field of, 145
conscious person, 434
consensus, live algorithmic music and, 512–13, 517–18
consistency, live algorithmic music and, 512, 518
constraint, 17
content, 123
freedom and, 8, 341
functional, 123
in improvisational theater, 123
improvisation and, 8–9, 24n46
resistance compared to, 9
urban design opportunities from, 60
contact improvisation, 3, 10–11
Continuator, 520
contranym, improvisation as, 269
“Converge,” 537
conversation
improvisation as, 12, 105, 109, 341, 513
Internet and, 361, 364, 426, 429–30
spontaneous production of, 12
“talk poems” and, 363–64
“Converted storefront” (Buuck), 369
cooperation
human-computer, 513
Cosmos and Psyche (Tarnas), 149n33
Cotton, Deborah “Big Red,” 92, 97n53
Count Basie Orchestra, 340–43
counter-actualization, 490, 501n27, 501n30
The Coup, 252
Cowart, Georgia, 275
Cowley, Malcolm, 160
“cradle-to-prison pipeline” protests, of second lines, 91
Cramer, Johann Baptist, 190
Crane, Hart, 160
Crawford, Margaret, 59
creatio ex improvisation, 157–63
creatio ex nihilo, 154–57
creation
beginning compared to origin, 157
character, 458–59
Christian doctrine on, 153–57
collective, 469
creatio ex improvisation and, 157–63
creatio ex nihilo and, 154–57
improvisation compared to, 158–59
of poetry, 160–61
spontaneous, 10, 287, 323–24, 326, 328
time and, 158
creative
computer programs, 519–21
emergence, 413–14
music, 218
process compared with product, 4
stutter, 488, 490, 498, 500n4
creativity
AI and machine, 411–12
art and, 156
artificial, 508, 512
Boden’s definition of, 508–9, 520
body as force of, 489
computers and, 361, 405, 411–12, 508, 518
divine inspiration and, 155–56
machine, 405, 411–12
musical improvisation and, 117
neural processes and, 255–56n5
quasi-causality and, 490
social basis of, 116
Crick, Francis, 133
critical computing, 388–89, 389f
critical improvisation studies, 13
books on, 19
ensemble improvisation focus of, 198–99
growth of, 2
music and origin of, 1
“critical ontology,” 50
“crowding the emcee,” 254
Crown, Kathleen, 368
Csikszentmihalyi, Mihaly, 455–56
cultural agency, “Signifyin(g)” and, 314
(p. 550) cultural computing, 387–88, 389f
culture
conservatoire, 111–12
ethnomusicology on improvisation and, 181
industry, 10
musical improvisation and, 239–43
oppositions of high and low, 8
second line, 88, 92
of spontaneity, 7
temporality and language’s relationship with, 141–43
of works, 186
Cunningham, Merce, 489
Curran, Alvin, 216–17
cyborgs, 372, 418
identity of, 442n12
Czerny, Carl, 192, 194, 197, 274
Dada, 366
influence of black music, 289–91, 295–96
Dahiyat, Ismael, 263
Dahlhaus, Carl, 186, 208, 261–62, 272
Dallāl, Muḥammad Qadrī, 238
Danielewski, Mark Z., 302–6, 308–9, 311, 315–17. See also House of Leaves
Darin, Bobby, 295
dastgah, 177, 179, 233
Davidson, Michael, 364
Davies, David, 11
Davis, Miles, 110, 244, 332n8
Dean, Roger, 360, 374
The Death and Life of Great American Cities (Jacobs), 58
December 1952 (Brown), 212
de Certeau, Michel, 57–59, 63–65
decline of improvisation (nineteenth century), 207
audience disinterest and, 185–86
commercial publishing and, 196
connoisseurs and amateurs and, 196–97
Hummel’s free fantasies and, 191, 196–97
music profession changes and, 186–87
valorization of improvisation from, 187–88
“work” aesthetic and, 186
Deep Listening, 214–15
Deepwater Horizon oil spill, 91
DeKoven, Bernie, 453–54, 455
DeLanda, Manuel, 494
Deleuze, Gilles, 398n1, 485, 492, 502n40
on atonal logic, 44–45
on counter-actualization, 490, 501n27, 501n30
on diagrammatics, 43, 494–95, 494f, 502n42
on spontaneity, 490–91
structure criteria of, 47–48
on subjectivation, 50
Dell, Christopher, 16
democracy, 19
Les Demoiselles d’Avignon (Picasso), 159
Dempster, Stuart, 214–15
dependency, art and, 161–62
Depp, Johnny, 103
Deren, Maya, 324
Derrida, Jacques, 9, 19, 49
remarks on improvisation, 28n106
Descartes, Rene, 133, 409
desktop publishing, 404
Desktop Theater (DT) (1997–2002), 470
body and, 474–75
borders and, 475–76
September 11th attacks and, 473
technology and, 474
Desmond, Paul, 324
Dessa Rose (Williams, Sherley Anne), 316–17
dhikr, 234
diagrammatics, 489
architecture triggered by, 47
Deleuze on, 43, 494–95, 494f, 502n42
notation and, 43–44, 44f, 51
reverse functionalism and, 51
spontaneity and, 493–95, 494f
structure and, 47, 50
“DialTones (A Telesymphony),” 537
differentiation, structure and, 48
Digital Improv Project, 123–28, 126f, 127f
Di Prima, Diane, 334n61
discarnate consciousness, 149n36
discourse analysis, 114
Disneyland, 74n65
distinctiveness, live algorithmic music and, 512, 518
(p. 551) divine inspiration, 155–56
Divine Styler, 250
Dixon, Willie, 162
Djwa, Philip, 470–71
Dogma 95, 449
Dogma 99 Manifesto, 449
Domino, Fats, 94
Donaldson, Susan V., 318n8
Don Giovanni (Mozart), 192
dorsolateral prefrontal cortex (dlPFC), 253, 255n5
Douglas, Ann, 291
Douglass, Frederick, 307
Dourish, Paul, 15
Drabble, Margaret, 161
Dream House, 214
dreams, in Sent for You Yesterday, 352
Dreyfus, Hubert, 409
dualism, 133
Dubliners (Joyce), 288
Duff, William, 154–55
Dungeon Master (DM), 460
Dungeons & Dragons (D&D), 447–48
Durant, Alan, 4
Durham, Eddie, 342
Durning, Jeanine, 485–88, 487f, 493. See also inging
Dylan, Bob, 162–63
“eBaying,” 452
“Echoes of the Jazz Age” (Fitzgerald), 294–95
economics
improvisation and African planning in, 16
cities and models of, 60–61, 70–71
improvisation and, 17, 73n17
“Ecstasy” (Racy, A. J.), 240–41, 245n13
Eden, 417
Edwards, Paul, 409
ego, 134
eighteenth-century studies, improvisation in
Empfindsamkeit and, 274
expression marks and, 265–67
free fantasies and, 267–69, 273–74
galant and, 275–77, 280n53
improvisation as contranym in, 269
improvisation replacing free fantasies in, 269–72
on Kenner and Liebhaber, 275
mystery and, 272
toccata style and, 269
Einstein, Albert, 401
Eliot, T. S., 293–94
Ellison, Ralph Waldo, 285, 293, 339
emergence
AL and, 412–14
collaborative, 418
combinatoric, 413–14
emergency management, planning and, 17
emergent authorship
feedback and, 452
role playing as, 445–46, 452–53, 462
systems of, 451
emergent narratives, 452–53
Emerson, Ralph Waldo, 163
Empfindsamkeit, 274
Empire of the Petal Throne, 463
empowerment, from musical improvisation, 244
engineering, interactive art and, 405–6
ensemble improvisation
critical improvisation studies and focus on, 198–99
international politics compared to, 144
myth and description of, 110
politics of, 198
retensive-protensive conception and, 140
in Sent for You Yesterday, 341, 348–49
social transformation of solo improvisation compared to, 198
environment, for interactive narrative, 127
epiphenomenalism, 133
“Essay Toward an Instruction on Playing the Transverse Flute” (Quantz), 266
Esterhammer, Angela, 188
ethics, of improvisation, 311–12
ethnomusicology, improvisation and, 1–2, 11
culture and, 181
Ferand’s legacy in, 171–72
folk music and, 172–73
fundamental works on, 172
history of, 169–72, 181–82
Indian music and, 170–71, 175–78
learning and, 179–80 (p. 552)
models and, 175–77
non-Western music’s discovery and, 170–71
oral transmission and, 173–75
performance and, 177–79
Persian music and, 176–79
“euphoria function,” 455
Europe, James Reese, 290
Evangelisti, Franco, 211
Evans, Walker, 162
Eve, 254
everyday improvisation
appeal of, 232
architecture and, 59
interactive art and, 408–9
in The Known World, 313
musical improvisation borrowing from, 105
performative practice and, 66
space and, 58–60
surprises and, 60
walking in cities and, 57–58
Everyday Urbanism, 59, 72n12
execution (Ausführung), 271
ex improviso, 263
experience
temporal, 132, 134–36
role-playing, 456
experimental improvisation
AACM and, 218, 225n67
audience for, 199
Braxton and, 218
Cage and, 209–10, 215–16
Cardew and, 216
of Curran, Rzewski, Teitelbaum, 216–17
free improvisation and, 218–19
history of, 215–16
of Uitti and Z, 217–18
unpopularity of, 199
experimental poetry. See contemporary poetry improvisation
expression marks, Versuch and, 265–67
ex tempore, 263
Façade (Mateas and Stern), 390, 391f, 418
Face of the Deep: A Theology of Becoming (Keller), 157
“face-work,” in freestyle rap, 255
Factor Oracle algorithm, 520
Fähndrich, Walter, 19
Fakhrī, Ṣabāḥ, 234
fantasy role-playing communities, 450–51
Faraḥ, Kamāl, 238
Farhat, Hormoz, 177
Fatheralong (Wideman), 338
Fauconnier, Gilles, 419
Feather, Leonard, 332n10
feedback, 492
emergent authorship and, 452
feeling, 233, 235, 266
as absence of thinking, 110
cult of, 274
racial structure of, 79
spontaneity and, 490, 497, 502n52
Whitehead’s notion of, 490, 497–98, 502n52
Feminist Improvising Group, 218
Fenway Park, Boston, 73n34
Ferand, Ernest, 1, 171–72, 182
Ferlinghetti, Lawrence, 326
field, structure and, 49
film. See cinema
Fine, Gary Alan, 456–59
fine art, interactive art and, 405–6
Finnegan’s Wake (Joyce), 65, 288
Fitzgerald, F. Scott, 294–95
flamenco music, 233, 242–43, 246n18
Flawliss, 254–55, 256n9
“flickering signifiers,” 371
flow, 110, 132, 455–56
Fluxus, 1
The Fold: Leibniz and the Baroque (Deleuze), 502n40
folk music, ethnomusicology of improvisation and, 172–73
Forkel, Johann Nikolaus, 156
form. See space
the city and, 43–44, 47–48, 51–52, 58, 61, 66, 502n52
open, 211–12
Fortaleza de la Mujer Maya (FOMMA), 481–82
(p. 553) Foss, Lukas, 219
Foucault, Michel, 7–8, 50, 354, 494
Frank, 519, 521
Frank, Robert, 322–23, 325–28
Franklin, Brandon, 89
freedom, 8
African American experience and, 353
audience relationship with expanded, 220–21, 244
control and, 290, 368
improvisation as reflective of, 181, 189, 235, 265, 384
performance, 208, 210–11, 219–21
power and, 154, 157
practice of, 341, 354
Pull My Daisy and collaborative, 326–27
relationship with structure and rules, 8, 14, 17, 277, 288, 398, 402, 408, 410
Freedom Sounds (Monson), 181, 372
free fantasies
as learned and popularity, 195–96
Beethoven and, 273
control displayed in, 199
decline of improvisation and critique of, 191, 196–97
eighteenth-century studies on, 267–69, 273–74
fugal passages in, 193, 195
guidelines for playing, 192, 194
improvisation conflated with, 269
improvisation replacing, 269–72
modulatory aspect of, 268–69
popularity of, 189, 192, 197
private compared to public, 193–95
social vision of, 195–96, 198
structure of, 190–91, 193, 202n22
Versuch on, 268
free fantasies, of Hummel
decline of improvisation and critique of, 191, 196–97
press documentation on, 192–94
standard set by, 189
free improvisation, 209, 218–19
audience for, 199
decision-making in, 18
as distinct from oral composition, 24–25n59
egalitarian ethics of, 471–72
experimental improvisation and, 218–19
interpretative repertoires in, 112
qualitative music psychology case study on, 111–12
relationship with structure and rules, 8
social life and, 111, 196
in the eighteenth century, 191, 195, 197
“work” aesthetic challenged by, 207–8
Freestyle Fellowship, 251
freestyle rap, improvisation in
audience interaction in, 254
cipher in, 250, 254
contemporary poetry and, 370
evolving definition of, 250–51
“face-work” in, 255
gender and, 253–54
genius and, 251
NIH fMRI study on, 253–55
race and, 254–55, 256n9
written rhymes compared to, 252
French Quarter, New Orleans, 76–77, 85
Fuller, David, 158
full reactive eyes entertainment (F.R.E.E.), 390
function, 43, 52, 54
for live algorithms, 515f
objective, in search algorithms, 17
structure and, 13, 49–51, 54
urban design and, 48–49
functional constraints, 123
functional magnetic resonance imaging (fMRI), 253–55
“Fun in Games” (Goffman), 454, 456
fusions, musical improvisation and, 239–43
Fyre Youth Squad, 91
Gadamer, Hans-Georg, 159
galant, 275–77, 280n53
game designer, in role playing, 462–63
Game Master (GM), 460–62
Garfinkel, Harold, 15
Gates, Henry Louis, Jr., 23n29, 310, 313–14, 317
Gay, John, 295
Gee, James Paul, 459
Geisel, Theodore, 164
(p. 554) gender
contemporary poetry improvisation and, 366–67
freestyle rap and, 253–55
jazz jam sessions and, 256n7
in MOOs, 428
passing and, 434
performance of, 8
videogames and tropes of, 384
generative processes and systems
improvisation and, 104, 363, 372, 374, 414–15,
live algorithms, 508, 516–17, 521–22
“Generative Theory of Tonal Music” (Lerdahl and Jackendoff), 137
Generic Universal Role-playing Systems (GURPS), 448, 463
Genesis, 154
genetic algorithms (GA), 403, 413, 417, 520–21
genius, 40
art and, 6–7, 154–57, 160, 163n9, 271, 273, 275
freestyle rap and, 251
imitation compared to, 155
GenJam, 521
gentrification, 77, 85
geographic information system (GIS), 61
Gere, David, 4
Gerippe, 271–72, 279n38
Gershwin, George, 297
Gerson-Kiwi, Edith, 237
Ge Wang, 18
Giddins, Gary, 332n10, 334n43, 355n31
Gillmore, Ruth Wilson, 90
Gilroy, Paul, 290
Gins, Madeleine, 367
Ginsberg, Allen, 325
Gioia, Ted, 4, 6
“The Girl with Skin of Haints and Seraphs” (GRIOT system), 374–75
Giroux, Henry, 80–81
Giver of Names, 419
Gjerdingen, Robert O., 280n53
Glazier, Loss Pequeño, 373
Glee Karaoke app, 534–35, 535f
Globe Unity Orchestra, 218
Globokar, Vinko, 220, 222n3
GM. See Game Master
Goffman, Erving, 4, 446, 454–56
Goldberg, Athomas, 394
Goldman, Danielle, 341, 353–54
Gómez-Peña, Guillermo, 470–71
Gottschalk, Louis Moreau, 192–93
Gould, Stephen Jay, 133
Graham, Stephen, 39
The Great Gatsby (Fitzgerald), 294
The Great Learning (Cardew), 216
Greenblatt, Stephen, 7
Gregorian chant, 258–59, 260f, 265
Gregory the Great, 258–59, 260f
Grétry, A. E. M., 187
Grice, Paul, 513, 517–18
Griffiths, Paul, 221
GRIOT system, 373–74, 419
Grosjean, François, 12
grounded theory, 124–25
Guattari, Félix, 45, 486, 494, 499
Guild Wars, 447
gushehs, 177
Gutman, Walter, 331
Guzzio, Traci Church, 354
Haas, Max, 261, 264–65
habitus, 237
Hadi, Shafi, 328–29
Hadot, Pierre, 6
Hagberg, Garry, 6, 22n28
ḥāl, 233–34
Halliwell, Stephen, 263
Hamilton, Andy, 4–5, 14
Hamilton, Sheryl N., 430
Handel, George Frederick, 159
The Hands (Waisvisz), 510–11
Handwörterbuch der musikalischen Terminologie, 262, 276
Hangover LARP, 458, 461
harmolodics, 355n31
harmony, improvisation and, 187–88
Harrell, D. Fox, 363, 372–74, 419
Harris, Eddie, 9
Harrison, Donald, Jr., 94
(p. 555) Harrison, Herreast, 80
Harrison-Nelson, Cherice, 80–81
Harviainen, J. Tuomas, 445
Haubenstock-Ramati, Roman, 212–13
Haug, Andreas, 259–61, 264–65
Hayles, N. Katherine, 361
health, 112–16
health care, 79–80
healthy space, architecture and, 53
Heble, Ajay, 296
Heinichen, Johann David, 277
Heinze, Ruediger, 345
Hello, Dolly!, 158
Hickey, Dave, 72
Hill, Helen, 88
Hiller, Ferdinand, 185
hip-hop, 86, 113, 251
Hindemith, Paul, 141
Historical and Geographical Description of Formosa (Psalmanazar), 433f
historical interpretation, of language, 258
historical musicology, 169
historical revisionism, 303, 309–10, 317–18
The Hobbit (Tolkien), 447
Holbrooke, Joseph, 218
Holland, John, 413
Hollerbach, Peter, 344
Homeostat, 416
Homer, 10, 24n59, 155
Homeric Hymn to Hermes (Hyde), 435
Horn, Paul, 239, 245n9
Hornbostel, Erich M. von, 170–71
House of Leaves (Danielewski). See also literary genres, improvisational evolution of
facts in fiction of, 309
footnotes in, 304, 308
magical realism in, 315
myth in, 308, 315
narration in, 311
narrative variations of, 304
postmodernism and, 316–17
self-awareness of, 316
textual devices in, 303–4, 308
Huelsenbeck, Richard, 291
Hughes, Langston, 294, 295
Hugo, Victor, 117
Huizinga, Johan, 426, 454
human person, 434
Humans versus Zombies, 446, 449, 457
Hummel, Johann Nepomuk. See also free fantasies, of Hummel
as “classical” and “modern,” 190
concert programs of, 190–91
control displayed by, 199
criticism against, 191
free fantasies of, 189–91
Kalkbrenner’s style compared to, 190
modern school compared to, 201n15
Mozart’s association with, 189–90
popularity of, 189, 197
press documentation on, 192–94
private compared to public concerts of, 193–95
struggles of contemporaries compared to, 197
versatility of, 194
Hurricane Katrina, 76. See also New Orleans
biopolitics in response to, 80–81, 89
improvisations to rescue victims of, 80
improvisatory parades and impact of, 79
racism and response to, 79–81
Husserl, Edmund, 15, 22n25
Huyssen, Andreas, 1
Hyde, Lewis, 435
hyper-reflexion, 478
I Am T-Pain app, 530, 532–34, 532f
ICO, 383–85, 384f
identity
bebop and African American, 323
cyborgs and, 442n12
improvisation and, 6, 112, 340–41, 353
imposture and, 424, 429, 434, 438
interactive systems and African American, 373
jazz and, 106–112, 329
The Known World and American, 305–6
personhood and, 435–36
role playing and, 460
social construction of, 460
virtual, 511
idiomatic music, 9
If on a Winter’s Night a Traveler (Calvino), 385
(p. 556) imitation
genius compared to, 155
imposture and, 425
by live algorithms, 521
imperfection, aesthetics of, 25n77
imperial ideologies, improvisation and, 7–8
impersonation, imposture compared to, 430
“implication-realization” model, 137–39
imposture, improvisation and
of Anderson, Laurie, clones, 429–31
avatarism and, 426–28, 441n8
impersonation compared to, 430
of masks and enactment, 428–29
passing and, 434
in performative enactments, 430–32
personhood and, 434–36
physical terms of, 424
relational self and, 438–40, 439f
of role playing, 426–28
social engineering and, 432, 433f, 434
time and sustaining, 425, 436–38
types of, 431–32
Impressions (Coltrane), 140
improvisation. See also specific types
Adorno on, 289–90, 298n11
African Americans and, 310
architecture and, 57–58
artistic and discursive realms of, 230
assumptions on, 287
avant-garde and, 316–18
biology and, 410
composition compared to, 132, 135–36, 207
computers and, 507
constraint and, 8–9, 24n46
as contranym, 269
creation compared to, 158–59
definitions of, 3, 13, 16, 104, 109, 206–7, 287, 306–7
Derrida on democracy and, 19
economics and, 16, 73n17
ethics of, 311–12
fascination with and fear of, 291
free fantasies conflated with, 269
free fantasies replaced by, 269–72
generative systems and, 414–15
harmony and, 187–88
history of, 2, 206
in Hurricane Katrina victims rescue efforts, 80
identity and, 112, 323, 334n47
imperial ideologies and, 7–8
inflated points of, 137–38
interactive art and, 406, 415–19
jazz criticism in connection to, 292–93
logical frames and, 411
masking trope with, 4
meta-formula and, 52
moral perfectionism and, 6
neglect of, 4
planning’s relationship to, 15–18
play and, 411
process-product opposition and, 4–5
“referent-based” formats of, 139
rules and, 410
search algorithms and, 17–18
Sent for You Yesterday on identity and, 340–41, 353
social justice and, 313–16
in subjective computing and user agency, 389–90
terminological debates over, 208–21
therapies based on, 4
time and, 136
transcendence and, 136–39, 141
umwelt and, 409–10
videogames and, 383–85
as way of life, 13–18
Improvisation, Community, and Social Practice (ICASP), 19
improvisational theater, 6, 18–19, 122
Chicago Improv Festival and, 127
constraints in, 123
Digital Improv Project and, 123–28, 126f, 127f
Improvisation Chamber Ensemble, 219
Die Improvisation in der Musik (Jaques-Dalcroze), 171
Improvisation: Its Nature and Practice in Music (Bailey), 3
The Improvisation of Musical Dialogue (Benson, Bruce Ellis), 5
“Improvisations sur Mallarmé I, II, and III” (Boulez), 211
improvisation technology, 40. See also urban design, improvisation technology for
(p. 557) improvisatory hermeneutics, 133, 144–46
improvisatory parades, in New Orleans. See also specific parades
African American and NOPD conflict in, 82–84
communal affirmations in, 90–91
historical regulation of, 82–83
Hurricane Katrina’s impact on, 79
increased fees for, 84–85
permits and, 83
power and, 77–78
public dialogue of, 81–82
public space rights and, 85–86
violence and, 84–86, 89, 91–93
improvised dance, 341, 353–54
Improvised News (Shibutani), 15
improviso, 262–63
IMPROV system, 394
improvvisatori/improvvisatrici, 2
incubation, jazz and, 357n51
indeterminacy, 208–9
improvisation and, 17, 196
the urban, and, 49
Indian music, 170–71, 175–78, 213–14
IndieCade, 464n22
industry, 45, 60
information systems theory, 14
inging (During)
biograms and, 495–97
making of, 486
meaning and, 500n5
performing, 485–88, 487f
practice as aesthetic in, 497–99
praxis and, 498–99
reflexive challenge of, 497–98
spontaneous stutter and, 493
Inside Bebop (Feather), 332n10
inspiration, musical improvisation and, 233, 244, 307
Instabilities 2 (Smith, Hazel, and Dean), 374–75
Instant Composer’s Pool, 218
“instant composition,” 10
Institutio Oratoria (Quintilian), 2
insurgent metaphors, 386
interactive art, 401. See also live algorithmic music; social music improvisation
agents of, 415–19
AI and, 411–12
AL and, 412–14
engineering and fine art in, 405–6
everyday improvisation and, 408–9
generative systems and, 414–15
improvisation and, 406, 415–19
novelty in, 403
performance and, 403–4, 408
representationalism and, 407–8
technical history of, 404
theory challenges with, 402
interactive narrative
best-practice approach of, 121–22
co-creative computational systems for, 122–23
cyclic methodology for study on, 125–26, 128
Digital Improv Project and, 123–28, 126f, 127f
environment for, 127
grounded theory for study on, 124–25
history of, 121
micro-agents and, 124–26, 126f
mixed-initiative system for, 122
Party Quirks system for, 126–28, 127f
privileged information and, 122
real-world approaches to, 122
inter-game immigration, 453
intermedia improvisation, 286–87
internalization, jazz and, 357n51
international politics, ensemble improvisation compared to, 144
Internet
advent and growth of, 14, 17, 404
conversation and, 361, 364, 426, 429–30
real-time performance and, 18, 418
Internet Relay Chat (IRC), 426, 429–30
interpretation, urban design and, 41
Interpretative Phenomenological Analysis (IPA), 114
interpretative repertoires, 107–9, 112
interracial love, in Sent for You Yesterday, 347
interruption, poetics of, 365
intersubjective consciousness, 145–46
(p. 558) intersubjective flow, 455–56
In the Break: The Aesthetics of the Black Radical Tradition (Moten), 306
intuition
composition and, 272–73
improvisation and, 14, 244, 271, 310, 387
as masking term for improvisation, 4
structure and, 235
intuitive music, 215
invention
necessity and, 73n19
spontaneous, 186, 206, 211
inverse dependence, 393
Ion, 155
“Io Sono at Swoons” (Glazier), 373
Iyer, Vijay, 357n50
Jackendoff, Ray, 137
Jackson, Charles, 92
Jackson, Tamara, 82, 86, 89, 91
Jacobs, Jane, 58, 60, 70–71, 73n17, 73n19, 73n21
Jairazbhoy, Nazir Ali, 175–76, 240
James, Kerwin, 84–85
James, William, 138, 287
Jameson, Fredric, 308
jam sessions, gender and, 256n7
Jantar, Maja, 367
Japanese art, 442n15
Jaques-Dalcroze, Emile, 171
Jarman, Joseph, 209
Javanese gamelan music, 141–42
jazz. See also bebop
African American connection to, 290–91, 323
assimilation and, 357n51
autobiographies by African American musicians, 296, 300n43
Cage and, 209
canonized as high modernism, 292
as conversation, 12
Dadaists and, 290–91
as “dangerous,” 295–96
division of labor in, 107
flow and, 110
free improvisation challenges for African American tradition in, 218–19
gender and jam sessions in, 256n7
growth and spread of, 290–91
ICO and, 385
identity and, 107, 109
improvisation’s critics and critics of, 292–93
incubation and, 357n51
infusion of influences in, 143
innovation in, 148n17
internalization and, 357n51
interpretative repertoires in, 107–9
language and impact of, 296
literary improvisation and, 296
modernism and, 289–94
motif theory and, 9–10, 148n17
organizational theory and metaphor of, 14
paying dues in, 354n12
Pull My Daisy’s score and, 327–28
race and criticism of, 292–93
Shadows’ score and, 328–29, 334n47
signifying and, 6, 23n29
slavery’s influence on, 290
as social practice, 105
specificity of voice in, 344
studies, 6–7, 23n29
transcendence in, 143
verbalizing experience of, 109–10
“The Jazz Age,” 294–97
“Jazz as Political and Musical Practice” (Monson), 181
“The Jazz Community” (Merriam and Mack), 181
jazz funerals, in New Orleans, 78–79, 84–85, 92
jazz musician focus group interviews, 106–9
jazz poetry, 326
Jencks, Charles, 5
jes grew, 345
Jhave, 373
Johnson, Albert, 329
Johnson, Steven, 451
Johnson-Laird, Philip, 9, 11
Jones, Edward P., 302–6, 309–15, 317–18. See also The Known World
Joseph, Julian, 103
Joseph, Miriam, 2
Joyce, James, 65, 210 (p. 559)
spontaneous epiphanies in, 288
judgment, Kant on modes of, 52
Jupiter (Manoury), 511
Kaliski, John, 59
Kalkbrenner, Frédéric, 187–88, 190
Kant, Immanuel, 52, 154–55, 163n9
Kapellmeister, 186–87, 189, 199
Karmin, Jennifer, 369
Kaufmann, Walter, 175–77
Keevak, Michael, 432
Keller, Catherine, 157–58
Kelley, Howard, 512–13, 517–18, 522
Kelman, Ken, 331
Kendra, James, 17
Kenner (connoisseurs), 196–97, 275
für Kenner und Liebhaber (Bach, C. P. E.), 275
Keros, Angela, 9–10, 13
Kerouac, Jack, 324–27, 489, 500n16
keyboard, nineteenth-century profession changes with, 186–87
Khaled, 243
Khan, Shujaat, 241
kinetic energies, in spontaneous field, 491–93
Kirk, Rashaan Roland, 350
Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Studierende (Türk), 265
Klavierstück XI (Stockhausen), 211
Knepper, Jimmy, 329
knowledge
notation and, 42
interactive narrative and, 122–28
knowledge-base theories, 9–12
The Known World (Jones)
American identity and, 305–6
everyday improvisation in, 313
fact in fiction in, 312
historical revisionism in, 309–10, 317–18
magical realism and, 306, 312
narrative of, 304–5, 311
slavery and, 304–6
social justice and magical realism in, 314–15
time and structure of, 312–13
“Koko” (Parker), 326
Koolhaas, Rem, 47–49
k-os, 252
Kostelanetz, Richard, 365–66
Kotnik, Toni, 51
Kozel, Susan, 478–82
Kramer, Jonathan D., 137, 142, 273, 279n38
Krewe of Dead Pelicans, 91
Kronos Quartet, 240–41, 245n13
Kubla Khan (Coleridge), 161
Kuhn, Thomas, 146
Kuhnau, Johann, 277
“Die Kunst der Improvisation” (Schenker), 269–72
Labov, William, 373
The Labyrinths of Information: Challenging the Wisdom of Systems (Ciborra), 14
Lachmann, Robert, 175
Lacy, Steve, 135, 143
Lady Buck Jumpers, 87
Lakoff, George, 126
Landgraf, Edgar, 6–7
Landrieu, Mary, 91
Landrieu, Mitch, 93
Land to The Tiller Act of 1953 (Taiwan), 60
language
the body and, 486
historical interpretation of, 258
jazz and impact on, 296
neural processing of, 256
parallels with music, 12, 109, 113, 253, 296
spontaneous production of, 12
sonic writing and, 366–67, 370
temporality and culture’s relationship with, 141–43
A Latin Dictionary, 262
Latinidad (Lil Caesar), 254–55
Latour, Bruno, 7, 40
LA under the Influence (Sherman), 61
“Lean On Me,” 534–35, 535f
learning, 196, 233, 264
ethnomusicology on improvisation and, 179–80
machine, 521–522
paying dues and, 354n12
Led Zeppelin, 162
Lee, Dorothy, 142
Lee, Jooyoung, 251
(p. 560) Lefebvre, Henri, 46, 52–53
Lerdahl, Fred, 137
Leslie, Alfred, 322–23, 325–28
Levidow, Les, 409, 420n8
Levine, Sherrie, 162
Levinson, Jerrold, 24n54, 156
Lewis, Ronald, 86
Leybourne, Stephen, 16
liberation
improvisation and, 8, 144, 290, 328
Liebhaber (amateurs), 196–97, 275
life-world (umwelt), 409–10
Lil Caesar, 254–55
Limb, Charles, 256n6
Linda, Solomon, 162
The Lion King, 162
“The Lion Sleeps Tonight” (Linda), 162
listening
models of, 515–16
spontaneous, 221
systemic, 516
Liston, Melba, 141
Liszt, Franz, 191, 201n17
literary genres, improvisational evolution of. See also House of Leaves; The Known World
African American cultural experience and, 307
audience interaction and, 304
avant-garde and, 316–18
fact in fiction and, 309, 312
historical revisionism and, 303, 309–10, 317–18
magical realism and, 306, 312, 314–15
myth and, 310, 315
narration and, 311
neo-slave narratives and, 316–17, 318n8
postmodernism and, 316
structure and, 303–4
textual devices and, 303–4, 308
types of, 306
literary improvisation, 285–86, 288–89, 296. See also modernism, improvisation and
live action roleplay (LARP), 122. See also role playing
character creation in, 458–59
character performance in, 459–60
D&D origins of, 447–48
Dogma 95 Manifesto and, 449
game designer in, 462–63
GM and, 460–62
Nordic, 448–49
popularity of, 446
subgenres of, 449
table-top role playing compared to, 448
Live Algorithms for Music Network, 519
live algorithms in music, 18, 507 f. See also interactive art
as creative intelligence, 508, 510
autonomy and, 509, 511, 522–23
challenge of, 508
consensus and, 512–13, 518
consistency and, 512, 518
cooperation with, 511, 514
demonstrable equivalence and, 507–8
distinctiveness and, 512, 518
evaluation of, 513
generative process in, 516
Grice’s Maxims and, 513, 517–18
independence of,
inputs to, 515
mathematical model for, 515–18
non-idiomatic, 508
performance systems for, 519–22
as real-life partners, 511–14
response and instigation in, 509
sociality of, 511–13
trust and, 514
Turing Machine as functional model for, 514–19
Live Algorithms for Music Network, 519
live writing, 369–70
Livre pour quatuor (Boulez), 210
location, social music improvisation and, 537–38
logic, atonal, 44–45
logical frames, improvisation and, 411
Lombard Street, San Francisco, 73n34
Lorca, García, 233
Lord, Albert, 10, 24n59, 174
Lott, Eric, 292
Lovelace Test (LT), 508
Loyer, Erik, 385
(p. 561) Lundi Gras parade, 2008, 76–77, 78f, 82. See also improvisatory parades, in New Orleans
Lutosławski, Witold, 211
Lyraflip, 256n9
machinic autopoiesis, 496, 502n50
Mack, Raymond, 181
Mac Low, Jackson, 366, 369
made (Benson), 368
MadPad app, 535–36, 536f
Magerko, Brian, 18
magical realism, 306, 312, 314–15
Magic Piano app, 530
Mahagonny-Songspiel (Brecht and Weill), 295
Mahler, Gustav, 160
maître de chapelle, 186
makam, 236–37
Malaby, Thomas, 462
Mallarmé, Stéphane, 210
Manning, Erin, 496
Manoury, Philippe, 511
Maple Story, 446
maqām, 234–35, 237, 245n2, 245n6
Marcus, Scott, 237–38
Mardi Gras, New Orleans, 77–78, 82. See also improvisatory parades, in New Orleans
Mardi Gras Indians, 78–79, 83–84, 93
Márquez, Gabriel García, 306
Le marteau sans maître (Boulez), 210
Martínez, Rubén, 471
Marx, Karl, 286
masking trope, with improvisation, 4
masks, 442n12
enactment and, 428–29
personhood and, 435
massively multiplayer online role-playing games (MMORPGs), 446–47, 449
Massoudieh, Mohammad T., 178
Massumi, Brian, 488, 496–97, 500n12, 502n35
mastery, interpretative repertoires and, 107–9, 112
Mateas, Michael, 390, 391f, 418
materialism, 133, 145–46, 149n38
Mattheson, Johann, 163, 269, 276
Matton, Ton, 16, 53
Maturana, Humberto, 412, 496
Maxims, Grice’s, 513, 517–18
May, Gerhard, 153
McCarthy, John, 411
McCormack, Jon, 417
McGinn, Kathleen, 9–10, 13
McKinnon, William, 259
McKinnon-Wood, Robin, 416
medial prefrontal cortex (mPFC), 253, 255n5
“media trash,” 372
medieval studies, improvisation and
chant in, 258–61, 260f, 265
controversy over identification of, 261–62
Handwörterbuch der musikalischen Terminologie on composition and, 262
memory and, 263–65
Die Musik in Geschichte und Gegenwart on composition and, 262
meditative music, 215
Medley, Keith Weldon, 80–81
Medusa, 254
Meisner, Sanford, 434
Mekas, Jonas, 322, 324, 331n4
memory, 209–10
improvisation and, 11, 52, 263–65, 238, 259, 263–65
Mendelssohn, Felix, 190, 197
Mendonca, David, 17
mental image, 398n2
Menuhin, Yehudi, 240
Merriam, Alan, 8, 181
meta-formula, improvisation and, 52
Method acting, 322, 330
MEXICA, 393–94
Meyer, Leonard, 137
Michel, George, 238
micro-agents, interactive narrative and, 124–26, 126f
Middleton, Peter, 362–63
MIDIPOET, 371–72
Mies, Paul, 273
Mignonneau, Laurent, 417
mind, 134
Mingus, Charles, 328
minimalism, 213–15
mistakes, 108
mixed-initiative system, for interactive narrative, 122
El Mnemonico (Navarro), 480–81
mobile devices, music and
audience participation and, 537, 538f
Glee Karaoke app and, 534–35, 535f
I Am T-Pain app and, 530,