A musical practice used for centuries the world over,
improvisation too often has been neglected by scholars who dismiss
it as either technically undissectible or inexplicably mysterious.
At different times and in different cultures, performing music that
is not "precomposed" has constituted an artful expression of the
performer's individuality (the Baroque); a wild, unthinking form of
expression (jazz antagonists); and the best method to train
inexperienced musicians to use their instruments (the Middle East).
This wide-ranging collection of essays considers musical
improvisation from a variety of approaches, including
ethnomusicology, education, performance, historical musicology, and
music theory. Laying the groundwork for even further research into
improvisation, the contributors of this volume delve into topics as
diverse as the creative minds of Mozart and Beethoven, the place of
improvised musics in Western and non-Western societies, and the
development of jazz as a musical and cultural phenomenon.
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