Boldly asserting that everyone can and should improvise, The Art of Becoming sets out a framework for understanding improvisation as a universal capability and a social behavior, with important implications for contemporary artistic practices, pedagogy, and music therapy.
Boldly asserting that everyone can and should improvise, The Art of Becoming sets out a framework for understanding improvisation as a universal capability and a social behavior, with important implications for contemporary artistic practices, pedagogy, and music therapy.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Raymond MacDonald is Professor of Music Psychology and Improvisation at Edinburgh University. His ongoing research focuses on issues relating to improvisation, musical communication, music health and wellbeing, music education and musical identities. He studies the processes and outcomes of music participation and music listening and has a particular interest in collaborative creativity. His work is informed by a view of improvisation as a social, collaborative and uniquely creative process that provides opportunities to develop new ways of working musically. Graeme Wilson is a Visiting Fellow at the University of Edinburgh. He has research interests in the theory and practice of group improvisation, and in musical participation to improve wellbeing. He has published and lectured widely as a psychologist on improvisation as well as on health, identities and discourse. He leads the Concurrent network for the study of interdisciplinary improvisation, initiated through a Network Grant from the Royal Society of Edinburgh. A founding member of Scottish National Jazz Orchestra and Glasgow Improvisers Orchestra, he has toured internationally and his saxophone playing features on over 30 CDs including his own quartet releases.
Inhaltsangabe
Preface Foreword Chapter 1. Improvisation and new frontiers in creative practice Chapter 2. What's so special about Improvisation? Chapter 3. Talking about Improvisation Chapter 4. Stones, Clouds: a new model for improvising Chapter 5. Distributed creativity and the myth of shared understanding Chapter 6. A new virtuosity: improvising over time Chapter 7. Improvisation and health: why improvising is good for you Chapter 8. The way forward References
Preface Foreword Chapter 1. Improvisation and new frontiers in creative practice Chapter 2. What's so special about Improvisation? Chapter 3. Talking about Improvisation Chapter 4. Stones, Clouds: a new model for improvising Chapter 5. Distributed creativity and the myth of shared understanding Chapter 6. A new virtuosity: improvising over time Chapter 7. Improvisation and health: why improvising is good for you Chapter 8. The way forward References
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