In the first book to examine the overlooked relationship between
musical improvisation and philosophical hermeneutics, Sam McAuliffe
asks: what exactly is improvisation? And how does it relate to our
being-in-the-world? Improvisation in Music and Philosophical
Hermeneutics answers these questions by investigating the
underlying structure of improvisation. McAuliffe argues that
improvising is best understood as attending and responding to the
situation in which one find itself and, as such, is essential to
how we engage with the world. Working within the hermeneutic
philosophical tradition - drawing primarily on the work of Martin
Heidegger, Hans-Georg Gadamer, and Jeff Malpas - this book provides
a rich and detailed account of the ways in which we are all already
experienced improvisers. Given the dominance of music in
discussions of improvisation, Part I of this book uses improvised
musical performance as a case study to uncover the ontological
structure of improvisation: a structure that McAuliffe demonstrates
is identical to the structure of hermeneutic engagement. Exploring
this relationship between improvisation and hermeneutics, Part II
offers a new reading of Gadamer's philosophical hermeneutics,
examining the way in which Gadamer's accounts of truth and
understanding, language, and ethics each possess an essentially
improvisational character. Working between philosophy and music
theory, Improvisation in Music and Philosophical Hermeneutics
unveils the hermeneutic character of musical performance, the
musicality of hermeneutic engagement, and the universality of
improvisation.
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