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|a 9789400603011
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|a Cobussen, Marcel
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|a The Field of Musical Improvisation
|h Elektronische Ressource
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| 260 |
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|b Leiden University Press
|c 2017
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| 653 |
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|a music philosophy
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| 653 |
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|a new materialism
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| 653 |
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|a Theory of music and musicology
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| 653 |
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|a complexity theories
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| 653 |
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|a music ecology
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|a eng
|2 ISO 639-2
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| 989 |
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|b OAPEN
|a OAPEN
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| 500 |
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|a Creative Commons (cc), https://creativecommons.org/licenses/by-nc/4.0/
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|a 10.24415/9789400603011
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|u http://library.oapen.org/handle/20.500.12657/31169
|z OAPEN Library: description of the publication
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|u https://library.oapen.org/bitstream/id/aaecdd0f-d66b-452e-a8d0-2e542415d7bd/637220.pdf
|x Verlag
|3 Volltext
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|a 581
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|a 100
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|a 780
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|a The central aim of this book is to present a new approach to “the field of musical improvisation” (FMI), a theory which understands improvisation as a nonlinear dynamic and complex system. The study provocatively argues that during an improvisation more actants are “at work” than musicians alone: space, acoustics, instruments, audience, technicians, musical and socio-cultural backgrounds, technology, and the like all play a significant role. However, not all of these actants determine every improvisation to the same extent; some are more prominent and active than others in certain situations (periods, styles, cultures, as well as more singular circumstances). Therefore, the FMI theory will prove to be more than a theory dealing with improvisation “in general”. Rather, FMI emphasizes singularity: each improvisation thus yields a different network of actants and interactions, a unique configuration or assembly.
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