Search results
- Improvisation is the composition of a musical work as it is being performed (Alperson, 1984, p.20). Hamilton (2000) defended a concept of improvisation as the aesthetics of imperfection focusing on the process, on the performance as event.
www.researchgate.net › publication › 276998741_The_Art_of_Improvisation_and_the_Aesthetics_of_Imperfection
Aug 13, 2020 · David Lloyd offers a powerful objection to aesthetic imperfection, when he distinguishes (1) tolerance of imperfection, (2) artistic exploitation of imperfection, and (3) imperfection as an aim. He argues that imperfectionism is unstable.
- Andy Hamilton
- 2020
People also ask
Is improvisation a broad sense composition?
What is the difference between improvisation impromptu and improvisation extempore?
What is free improvisation?
Can improvisation be a compositional method?
improvisation is a (broad sense) compositional method. (4) Improvisation and composition are interdependent; both involve structure and spontaneity. (5) Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions.
- Andy Hamilton
- 2020
- The Traditionally Dichotomous View
- A More Nuanced Approach
- Improvisation as Both Broad- and Narrow-Sense Composition
- Problem of Compatibility Posed by Goehr’S Work-Concept
- Problem of Originality Posed by Boulez and Benson
- Conclusion
Historically, improvisation and composition have been viewed as opposing categories, but their relationship has changed and developed over time. As Goehr writes, ‘by 1800 … the notion of extemporisation (improvisation) acquired its modern understanding and was seen to stand in strict opposition to composition’ (1992, p. 234). This dichotomy is neat...
While references to such dichotomies are still prevalent in contemporary scholarship regarding the ontologies of improvisation and composition, the lines are becoming increasingly blurred. The traditional view that composition and improvisation are opposing categories of music-making might nowadays be said to demonstrate a somewhat deficient unders...
The claim that improvisation is a method of broad-sense composition—that is, that it involves the assembly of elements in an aesthetically rewarding form—should be fairly uncontroversial. There is no music, improvisations included, which has not, in this broad sense, been composed. I also wish to take this argument one step further, however, to pro...
According to Goehr, the work-concept appeared around 1800, and it marks the shift in focus from the extra-musical function framed around performance to the composer and the composition. For example, instead of dance suites that explicitly refer to and rely on their extra-musical elements, instrumental and absolute music came into vogue, demonstrati...
The second key threat to our argument is posed by the denial of improvisation’s genuine spontaneity. If improvisation is merely the recontextualization of existing ideas rather than the creation of new ones, which is the case for composition, how can their relationship be meaningfully rectified? Benson subscribes to this view of improvisation, asse...
To conclude, then, improvisation is indeed a method of composition in two key senses: firstly, improvisation (as an action) is a step in the process of composition; secondly, improvisation (as a product) can be considered a work once it is recorded and is, hence, repeatable. Regarding the creation of works, Dodd’s work-concept merely requires that ...
Improvisation is standardly regarded, in the Western art music tradition, as 'instant composition'; an inferior imitation which, despite the undoubted brilliance of many of its practitioners, can never attain
Jan 1, 2000 · Hamilton (2000) defended a concept of improvisation as the aesthetics of imperfection focusing on the process, on the performance as event. The concept of improvisation should accept that it...
Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions.
Jun 1, 2020 · Improvisation is no risker, or prone to mistakes, than performance of compositions. Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance.
