An ethnographer's account of his study of jazz-piano playing, which led to discoveries concerning the ways his hands learned about the keyboard and improvisation, sheds light on the nature and range of improvised conduct.

"This innovative volume argues that any particular kind of music can only be understood in terms of the criteria of the group which makes and appreciates that music. This theme is in sharp contrast to established attitudes to music which utilize 'objectively' conceived aesthetic. These attitudes are revealed in the assumptions underlying most musicology and musical aesthetics including, perhaps paradoxically, the work of a number of cultural radicals such as Lukacs and Adorno. On a more practical level, they manifest themselves (...) both in music education policies and in the policies of arts and broadcasting administrators, who have the power to promote some kinds of music above others. (shrink)