Chapter 37 Improv, Stand-Up, and Comedy
The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formula...
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic Book Chapter |
| Language: | English |
| Published: |
Taylor & Francis
2021
|
| Subjects: | |
| Online Access: | DOAB: download the publication DOAB: description of the publication |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
MARC
| LEADER | 00000naaaa2200000uu 4500 | ||
|---|---|---|---|
| 001 | doab_20_500_12854_74964 | ||
| 005 | 20211216 | ||
| 003 | oapen | ||
| 006 | m o d | ||
| 007 | cr|mn|---annan | ||
| 008 | 20211216s2021 xx |||||o ||| 0|eng d | ||
| 020 | |a 9781003179443-42 | ||
| 020 | |a 9780367203641 | ||
| 020 | |a 9781032016498 | ||
| 040 | |a oapen |c oapen | ||
| 024 | 7 | |a 10.4324/9781003179443-42 |c doi | |
| 041 | 0 | |a eng | |
| 042 | |a dc | ||
| 072 | 7 | |a HP |2 bicssc | |
| 100 | 1 | |a Canonne, Clément |4 auth | |
| 245 | 1 | 0 | |a Chapter 37 Improv, Stand-Up, and Comedy |
| 260 | |b Taylor & Francis |c 2021 | ||
| 300 | |a 1 electronic resource (15 p.) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 506 | 0 | |a Open Access |2 star |f Unrestricted online access | |
| 520 | |a The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of "coloration" or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered. | ||
| 540 | |a Creative Commons |f https://creativecommons.org/licenses/by-nc-nd/4.0/ |2 cc |4 https://creativecommons.org/licenses/by-nc-nd/4.0/ | ||
| 546 | |a English | ||
| 650 | 7 | |a Philosophy |2 bicssc | |
| 653 | |a Philosophy, Ontology, Music, Improvisation, Arts, Performance | ||
| 773 | 1 | 0 | |t The Routledge Handbook of Philosophy and Improvisation in the Arts |7 nnaa |o OAPEN Library UUID: dac0e6b5-d521-420a-bf20-865d9ac47ad1 |
| 856 | 4 | 0 | |a www.oapen.org |u https://library.oapen.org/bitstream/20.500.12657/52025/1/9781003179443_10.4324_9781003179443-42.pdf |7 0 |z DOAB: download the publication |
| 856 | 4 | 0 | |a www.oapen.org |u https://directory.doabooks.org/handle/20.500.12854/74964 |7 0 |z DOAB: description of the publication |