Revision, Prevision, and the Aura of Improvisatory Art

Sterritt, David

doi:10.2307/432095

Cited by 8 publications

(3 citation statements)

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“…Despite this focus on spontaneity, most improvisation theorists agree that improvisation is not ad hoc activity; rather, it involves skill, training, planning, limitations, and forethought (see Alperson , Bitz, Bresnahan, Brown , Clemente, Hamilton, Kernfeld, Sterritt, and Zaunbrecher). These theorists hold that all creation and performance within an artistic discipline involve an awareness of the aims and parameters of the work of art or event, genre, school, and style in which the activity is taking place.…”

Section: Improvisation In the Arts In Generalmentioning

confidence: 99%

“…A live audience setting in which improvisations are observed in real time creates a situation where the perceived authenticity of the artist or performer is a good-making feature of performance evaluation (see Brown 2000a, Hagberg 1998, andSterritt). To be 'in the moment' and thinking on-the-f ly in the way that improvisation requires entails that an artist summon all the skills, training, and resources that he or she can muster.…”

Section: How Improvisation In the Arts Affects Aesthetic Evaluation Amentioning

confidence: 99%

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Improvisation in the Arts

Bresnahan

2015

Philosophy Compass

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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 will be explored. This article concludes with the suggestion that further research and discussion on improvisation in the arts is needed, particularly in the areas of non-jazz improvisation.

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Section: Improvisation In the Arts In Generalmentioning

confidence: 99%

Section: How Improvisation In the Arts Affects Aesthetic Evaluation Amentioning

confidence: 99%

Improvisation in the Arts

Bresnahan

2015

Philosophy Compass

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“…See Alperson (, 22), Berliner (, chap. 9), Hamilton (, 197–212), MacKenzie (, 177), and Sterritt (, 166–167).…”

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The Jazz Solo as Virtuous Act

Love

2016

The Journal of Aesthetics and Art Criticism

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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 (the soloist) 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 musical surface; it does not constitute a separate plane of appreciation. I begin by examining the improvisational error. This examination supports the position that the solo is an act, not a work. From this position, I detail a new aesthetic of the improvised solo, grounded in the soloist's virtues. In a successful solo, the soloist's actions display a balance of two aesthetic “virtues”: compositional skill and a commitment to the spirit of improvisation. Compositional skill manifests in a solo as coherence. The improvisational spirit manifests as courage, spontaneity, and related qualities. These virtues often come into conflict; each soloist negotiates this conflict differently.

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Sounding out discourse pilgrims and vagrants

Titlestad

2002

Current Writing: Text and Reception in Southern Africa

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Revision, Prevision, and the Aura of Improvisatory Art

Cited by 8 publications

References 0 publications

Improvisation in the Arts

Improvisation in the Arts

The Jazz Solo as Virtuous Act

Sounding out discourse pilgrims and vagrants

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