The Condition of the Improviser (Moments and Monuments: Mission Impossible).
While oral cultures invest considerable amounts of mental energy in remembering stories to be told, the culture of our time is primarily visual, and what is not written or printed is hardly understood. Music becomes 'sacred', progressively detached from its perceivable elements-sounds and rhythms-an...
| Publicado en: | Contemporary Music Review Vol. 29; no. 4; pp. 379 - 387 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=62596525&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 62596525 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: 2010 vid: 29 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 62596525 10.1080/07494467.2010.587315 ppf: 379 ppct: 8 formats: fmt: – @attributes: type: T – @attributes: type: P size: 63KB tig: atl: The Condition of the Improviser (Moments and Monuments: Mission Impossible). aug: au: Visconti-Prasca, Marco su: Essays Music improvisation Agamben, Giorgio, 1942- Lewis, George Music Musical composition sug: subj: Essays Music improvisation Agamben, Giorgio, 1942- Lewis, George Music Musical composition keyword: Contemporary George Lewis Giorgio Agamben Improvisation Improvisative Approach Technological Unconsciousness ab: While oral cultures invest considerable amounts of mental energy in remembering stories to be told, the culture of our time is primarily visual, and what is not written or printed is hardly understood. Music becomes 'sacred', progressively detached from its perceivable elements-sounds and rhythms-and its creators become hostages of market structures. George Lewis calls upon the 'improvisative approach' as the successful paradigm of a musical practice which converges toward the centre of a twofold intellectual/practical speculation. Meanwhile, the nature of contemporaneity is that of a detached observation of reality slightly out of phase with the unfolding of time; this is not unlike the detachment of score and musician. In this essay, the author aims to show that our (impossible) mission is to prevent that irrevocable dichotomy between music and musicians. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2010 holdings: @attributes: islocal: N |
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