Improvisation in the Arts

Philosophy Compass 10 (9):573-582 (2015)
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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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Citations of this work

The philosophy of music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
Is Moruzzi's Musical Stage Theory Advantaged?Philip Letts - 2020 - Journal of Aesthetics and Art Criticism 78 (3):357-362.
The Assumptions behind Musical Stage Theory: A Reply to Letts.Caterina Moruzzi - 2020 - Journal of Aesthetics and Art Criticism 78 (3):362-366.

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References found in this work

The Aesthetics of Music.Roger Scruton - 1997 - Oxford, GB: Oxford University Press.
Art as Performance.Dave Davies - 2003 - Wiley-Blackwell.
Languages of Art: An Approach to a Theory of Symbols.B. C. O'Neill - 1971 - Philosophical Quarterly 21 (85):361.
Must we mean what we say?Stanley Cavell - 1964 - In Vere Claiborne Chappell (ed.), Ordinary language: essays in philosophical method. New York: Dover Publications. pp. 172 – 212.

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