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  1. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  • Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, (...)
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  • The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  • Review of C. Koopman, Pragmatism as Transition. Historicity and Hope in James, Dewey, and Rorty. [REVIEW]Roberto Frega - 2009 - European Journal of Pragmatism and American Philosophy 1 (1).
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  • Urban Shanties: Improvisation and Vernacular Architecture.David Goldblatt - 2012 - Evental Aesthetics 1 (3):90-112.
    The practice of architecture takes place in what is aptly called “an architectural practice.” But, in a sense, no architecture takes place there. Unless something outside that practice is built, we merely have plans for architecture, unfulfilled ideas, but nothing that functions or shelters. In this paper, my attempt to show an important connection between improvisation and architecture is about the process of architecture as its execution of a built structure. My idea is to begin with an unheralded example from (...)
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  • Time as Experience/Experience as Temporality.Vincent Colapietro - 2013 - European Journal of Pragmatism and American Philosophy 5 (1).
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  • The Jazz Solo as Virtuous Act.Stefan Caris Love - 2016 - Journal of Aesthetics and Art Criticism 74 (1):61-74.
    This article presents a new aesthetic of the improvised jazz solo, an aesthetic grounded in the premise that a solo is an act indivisible from the actor and the context. The solo's context includes the local and large-scale conventions of jazz performance as well as the soloist's other work. The theme on which a solo is based serves not as a “work,” but as part of the solo's stylistic context. Knowledge of this context inheres directly into proper apprehension of the (...)
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