Journal:

Critical Studies in Improvisation/Études critique en improvisation

Newsletter: ImprovNotes

October 2009
March 2009
November 2008
September 2008
July 2008
June 2008

Project Reading List
Project reading groups have been organized at McGill University and the University of Guelph; selections from both groups follow.

2008-09

Alterhaug, Bjorn. “Improvisation on a triple theme: Creativity, Jazz Improvisation and Communication.”

Fitzpatrick, Susan. “The Imaginary and Improvisation in Public Administration.”
Gilbert, Jeremy. "Becoming Music: The Rhizomatic Moment of Improvisation." In Deleuze and Music.
Goldstein, Malcolm. "The Politics of Improvisation." In Sounding the Full Circle. 1988. www.mcgirll.ca/improv/mgoldstein/sounding/
Hebidge, Dick. "Even Unto Death: Improvisation, Edging, and Improvement." Critical Inquiry.
Herman, Barbara. “Moral Improvisation” (a chapter from her book Moral Literacy).

Mehldau, Brad, "Music and Language"-- liner notes from Progression: Art of the Trio Volume 5 available at: Music and Language
Ramshaw, Sara. "Deconstructin(g) Jazz Improvisation: Derrida and the Law of the Singular Event." In Critical Studies in Improvisation 2, no 1 (2006). www.criticalimprov.com
Stanbridge, Alan, "From the Margins to the Mainstream: Jazz, Social Relations, and Discourses of Value"
available at: http://quasar.lib.uoguelph.ca/index.php/csieci/article/view/361/960
Székely, Michael. "Thresholds: Jazz, Improvisation, Heterogeneity, and Politics in Postmodernity." Jazz Perspectives2, no. 1 (January 2008): 29-50.
Weick, Karl E. “Improvisation as a Mindset for Organizational Analysis” from the journal Organization Science, vol. 9, #5

An online article from BNET, "All that jazz: jazz as a metaphor for business? It's not such a stretch, says musician and motivator Michael Gold - Management" available at: BNET
An article from Newsweek magazine, Aug 20-27, 2007 issue, "A New Way of War", available at: Newsweek
Wikipedia definition of improvisation
2007-2008

Selections from Derek Bailey, Improvisation: Its Nature and Practice in Music, New York: Da Capo Press, 1992.

Barrett, Frank. “Creativity and Improvisation in Jazz and Organizations: Implications for Organizational Learning.”

Borgo, David. “Negotiating Freedom: Values and Practices in Contemporary Improvised Music.”

Crease, Robert. “The Improvisational Problem.”

Selections from Mihály Csíkszentmihályi's work on "flow" (he has several books on this topic)

Durant, Alan. “Improvisation in the Political Economy of Music.” Music and the Politics of Culture. Ed. Christopher Norris. London: Lawrence and Wishart, 1989. 252-82

Fauchart, Emmanuelle and Eric von Hippel. “Norms-based Intellectual Property Systems: The Case of French Chefs.”

Hamilton, Andy. “The Art of Improvisation and the Aesthetics of Imperfection.”

Lewis, George. “Improvised Music after 1950: Afrological and Eurological Perspectives.”

Lipsitz, George. “‘It’s All Wrong, but It’s All Right’: Creative Misunderstanding in Intercultural Communication” (a chapter from his book Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place).

Lugones, Maria. “On Complex Communication.”

Montuori, Alfonson. “The Complexity of Improvisation and Improvisation of Complexity: Social Science, Art and Creativity.”

Nettl, Bruno. “Thoughts of Improvisation: A Comparative Approach.”

Joan Scott, "The Evidence of Experience," Critical Inquiry (Summer 1991); reprinted in various collections of essays, and in Questions of Evidence: Proof, Practice, and Persuasion across the Disciplines, edited by James Chandler, Arnold I. Davidson, and Harry Harootunian (Chicago: University of Chicago Press, 1994)

Selections from The Embodied Mind: Cognitive Science and Human Experience, Francisco J. Varela, Evan T. Thompson, Eleanor Rosch

Project Participants' Publications
Books:

Frédérique Arroyas. La Lecture Musico-Litteraire: a L’ecoute de Passacaille de Robert Pinget et de Fugue de Roger Laporte. Presses de l’Université de Montréal, 2001.

Howard Becker. Telling About Society. The University of Chicago Press, 2007.

Georgina Born. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. University of California Press, 1995.

Ed. Georgina Born and D. Hesmondhalgh. Western Music and Its Others: Difference, Representation, and Appropriation in Music. California UP, 2000.

David Brackett. Interpreting Popular Music. University of California Press, 2000.

David Brackett. The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press, 2004.

Roger Dean. Hyperimprovisation: Computer Interactive Sound Improvisation; with CD(R) of sound works, intermedia, and performance software patches. Middleton, WI, USA, A-R Editions, 2003.
Roger Dean. Sounds from the Corner: Australian Contemporary Jazz on CD. Sydney, Australian Music Centre, 2005.

Ed. Daniel Fischlin and Ajay Heble. The Other Side of Nowhere: Jazz, Improvisation, and communities in dialogue. Wesleyan University Press, 2004.

Ed. Daniel Fischlin and Ajay Heble. Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making. Black Rose Books, 2003.

Cecil Foster. Where Race does not Matter: The New Spirit of Modernity. Penguin Group Canada, 2005.

Ajay Heble. Landing on the Wrong Note: Jazz, dissonance and critical practice. Routledge, 2000.

George E. Lewis. A Power Stronger than Itself: The AACM and American Experimental Music. University of Chicago Press, 2008.

George Lipsitz. Footsteps in the Dark: The Hidden Histories of Popular Music. University of Minnesota Press, 2007.

Desmond Manderson. Songs without Music: Aesthetic Dimensions of Law and Justice. University of California Press, 2000.

Keith Sawyer. Group Genius: The Creative Power of Collaboration. Perseus Books Groups, 2007.

Ed. Nichole Rustin, Sherrie Tucker. Big Ears: Listening for Gender in Jazz Studies. Duke University Press, 2008.

Sherrie Tucker. Swing Shift: “All-Girl” Bands of the 1940s. Duke University Press, 2000.

Ellen Waterman ed. Sonic Geography Imagined and Remembered. Penumbra Press, 2002.

Deborah Wong. Sounding the Center: History and Aesthetics in Thai Buddhist Performance. University of Chicago Press, 2001.

Deborah Wong. Speak it Louder: Asian Americans Making Music. Routledge, 2004.

Book Chapters:

Roger Dean, The New Grove Dictionary of Jazz, Second Edition. ed. B. Kernfeld. Macmillan, 2002.

Kevin McNeilly, T.S. Eliot’s Orchestra: Critical Essays on Poetry and Music. ed. Cooper Xiros. Routledge, 2000.

Keith Sawyer. Unscripted learning: Using improv activities across the K-8 curriculum. C. Lobman and M. Lundquist. Teacher's College Press, 2007.

Keith Sawyer and S. DeZutter. Play and literacy in early childhood: Research from multiple perspectives. ed. K. Roskos & J. Christie. Erlbaum, 2007.

Keith Sawyer. Cambridge Handbook of the Learning Sciences. ed. R. K. Sawyer. Cambridge, 2006.

Keith Sawyer. Early Years Education (Major Themes in Education Series). ed. R. Parker-Rees and J. Willan. Routledge, 2006. Reprint of "Improvisation and narrative."

Keith Sawyer. Creativity across domains: Faces of the muse. ed. J. C. Kaufman and J. Baer. Erlbaum, 2005.

Keith Sawyer. Musical Communication. ed. D. E. Miell, R. MacDonald and D. Hargreaves. Oxford, 2005.

Keith Sawyer. Critical creative processes. ed. M. A. Runco. Hampton Press, 2003.

Keith Sawyer. Encyclopedia of creativity. Academic Press, 1999.

M. Csikszentmihalyi and Keith Sawyer. Creative action in organizations: Ivory tower visions and real world voices. ed. C.M. Ford and D.A. Gioia. Sage Publications, 1995.

Sherrie Tucker. “’But this Music is Mine Already!’: White Woman as Jazz Collector in the Film, New Orleans (1947).” ed. Nichole T. Rustin and Sherrie Tucker. Big Ears: Listening for Gender in Jazz Studies.

Sherrie Tucker. “Jazz.” ed. Mellonee V. Burnim and Portia K. Maultsby. African American Music: A History. (New York: Routledge, 2006): 528-41.

Sherrie Tucker. “Bordering on Community: Improvising Women Improvising Women-in-Jazz.” ed. Ajay Heble and Daniel Fischlin. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. (Middletown, CT: Wesleyan, 2004): 244-67.

Sherrie Tucker. "When Subjects Don't Come Out." ed. Sophie Fuller and Lloyd Whitesell, Queer Episodes in Music and Modern Identity. (Champlain: University of Illinois Press, 2002): 293-310.

Sherrie Tucker. "Telling Performances: Jazz History Remembered and Remade by the Women in the Band." (reprint). ed. Vicki L. Ruiz and Ellen Carol DuBois. Unequal Sisters: A Multicultural Reader in U.S. Women's History (3rd. ed.). (New York: Routledge, 2000): 466-77.

Ellen Waterman. “Radio Bodies: Discourse, Performance, Resonance.” ed. Brandon LaBelle and Erik Granly Jensen. Radio Territories. (Errant Bodies Press, 2007): 118-153. Includes CD with composition: “(Wo)männlicher Carcano” (mislabelled "Found an Angel").

Journal Articles:

Roger Dean. "Creative arts, creative research and the politics of new media." Southern Review 34(3): 10-22.
Roger Dean. "NoiseSpeech, a Noise of Living Bodies: towards Attali's 'Composition' (includes a soundwork by the author, Speak Noise Speech, also available online)." Journal of New Media and Culture 3(Fall 2004).
Roger Dean and H. Smith. "Sonic narratives: intermedia transformations in the work of austraLYSIS." Australasian Music Research 8: 91-105.
Roger Dean and H. Smith. "The evolving technology of performance in the work of austraLYSIS, and the politics of co-operativity." Sounds Australian 65: 16-21
Roger Dean, M. Whitelaw, H. Smith and D. Worrall. "The Mirage of Algorithmic Synaesthesia: Some Compositional Mechanism and Research Agendas in Computer Music and Sonificiation." Contemporary Music Review.
Roger Dean and H. Smith. "The Egg The Cart The Horse The Chicken: Cyberwriting, Sound, Intermedia." Interactive Multimedia Electronic Journal of Computer Enhanced Learning 4(1): Journal.
Roger Dean and H. Smith. "Voicescapes and Sonic Structures in the Creation of Sound Technodrama." Performance Research 8(1): 111-123.

George Lipsitz. “How Johnny Veliotes Became Johnny Otis.” Journal of the Hellenic Diaspora. v.22 n.1-2, 2007: 81-104.

George Lipsitz. “Learning from New Orleans: The Social Warrant of Hostile Privatism and Competitive Consumer Citzenship.” Cultural Anthropology. v.12 n.1 (Spring) 200: 451-468.

George Lipsitz. “Breaking the Silence: The Fugees and the Score.” Journal of Haitian Studies. v.12 n.1, (Spring) 2006: 4-23.

Keith Sawyer. "Learning music from collaboration." International Journal of Educational Research 47 (2008): 50-59.

Keith Sawyer. "Improvisation and teaching." Critical Studies in Improvisation/Études critique en improvisation 3(2) (2007).

Keith Sawyer. "Educating for innovation." Thinking Skills and Creativity 1(1) (2006): 41-48.

Keith Sawyer. "Group creativity: Musical performance and collaboration." Psychology of Music 34(2) (2006): 148-165.

Keith Sawyer. "Creative teaching: Improvisation in the constructivist classroom." Educational Researcher 33(2) (2004): 12-20.

Keith Sawyer. "Improvised lessons: Collaborative discussion in the constructivist classroom." Teaching Education 15(2) (2004): 189-201.

Keith Sawyer. "Improvisation and narrative." Narrative Inquiry 12(2) (2002): 319-349.

Keith Sawyer. "The improvisational performance of everyday life." Journal of Mundane Behavior 2(2) (2001). Online journal available at www.mundanebehavior.org.

Keith Sawyer. "Improvisation." Journal of Linguistic Anthropology 9(1-2) (2000): 121-123. Reprinted in Duranti, A. (Ed.). 2001. Key terms in language and culture (pp. 116-118). Oxford: Blackwell.

Keith Sawyer. "Improvisation and the creative process: Dewey, Collingwood, and the aesthetics of spontaneity." The Journal of Aesthetics and Art Criticism 58(2) (2000): 149-161.

Keith Sawyer. "Improvisational cultures: Collaborative emergence and creativity in improvisation." Commentary on lead article by Howard Becker, "The etiquette of improvisation." Mind, Culture, and Activity 7(3) (2000): 180-185.

Keith Sawyer. "The emergence of creativity." Philosophical Psychology 12(4) (1999): 447-469.

Keith Sawyer. "Improvised conversations: Music, collaboration, and development." Psychology of Music 27 (1999): 192-205.

Keith Sawyer. "Moving forward: Issues for future research in improvisation and education." Psychology of Music 27 (1999): 215-216.

Keith Sawyer. "The interdisciplinary study of creativity in performance." Creativity Research Journal 11 (1998):11-19.

Keith Sawyer. "The semiotics of improvisation: The pragmatics of musical and verbal performance." Semiotica 108(3/4) (1996): 269-306.

Keith Sawyer. "Creativity as mediated action: A comparison of improvisational performance and product creativity." Mind, Culture, and Activity 2 (1995): 172-191.

Keith Sawyer. "Improvisational creativity: An analysis of jazz performance." Creativity Research Journal 5 (1992): 253-263.

Sherrie Tucker. “Deconstructing the Jazz Tradition: The Subjectless Subject of New Jazz Studies.” The Source: Challenging Jazz Criticism. v. 2 (2005): 31-46.

Sherrie Tucker. “’White Woman’ as Jazz Collector in the Film New Orleans (1947).” Institute for the Study of American Music Newsletter. v. 35, no. 1 (Fall 2005): 1-2, 13-14.

Sherrie Tucker. “Big Ears: Listening for Gender in Jazz Studies.” Current Musicology. n. 71-73 (Spring 2001-Spring 2002): 375-408.

Sherrie Tucker. “Uplift and Downbeats: What if Jazz History Included the Prairie View Co-eds.” (reprint) The Journal of Texas Music History. v. 2, . 2 (Fall 2002): 30-38.

Sherrie Tucker. “A Roundtable on Ken Burns’s Jazz.” ed. Geoffrey Jacques,. Journal of Popular Music Studies. v. 13, n. 2 (September 1, 2001): 207-225.

Sherrie Tucker. “Uplift and Downbeats: If Jazz History Included the Prairie View Co-eds.” Jazz Research Proceedings, International Association of Jazz Educators. (January 2001): 26-31.

Sherrie Tucker. "The Prairie View Co-eds: Black College Women Musicians in Class and on the Road." Black Music Research Journal. v. 19, n. 1 (Spring 1999): 93-126.

Sherrie Tucker. "Nobody's Sweethearts: Gender, Race, Jazz, and the Darlings of Rhythm." American Music. v. 16, n. 3 (Fall 1998): 255-288.

Sherrie Tucker. "Telling Performances: Jazz History Remembered and Remade by the Women in the Band." (reprint), Oral History Review. vol. 26, no. 1 (Winter/Spring 1999): 67-84.

Sherrie Tucker. "Female Big Bands, Male Mass Audiences: Gendered Performances in a Theater of War." Women and Music: A Journal of Gender and Culture. no. 2, (1998): 64-89.

Sherrie Tucker. "Telling Performances: Jazz History Remembered and Remade by the Women in the Band," (reprint), Women and Music: A Journal of Gender and Culture. n. 1 (1997): 12-23.

Sherrie Tucker. "West Coast Women: A Jazz Genealogy." Pacific Review of Ethnomusicology. v. 8, n. 1 (Winter 1996/1997): 5-22.

Sherrie Tucker. "Working the Swing Shift: Women Musicians During World War II." Labor's Heritage. v. 8, no. 1 (Summer 1996): 46.

Sherrie Tucker. "'And Fellas, They're American Girls!' On the Road With the Sharon Rogers All-Girl Band." Frontiers: A Journal of Women Studies. v. 16, n. 2/3 (Spring 1996): 128.

Sherrie Tucker. "Where the Blues and the Truth Lay Hiding: Rememory of Jazz in Black Women's Fiction." Frontiers: A Journal of Women Studies. v. 13, n. 2 (1993): 26.

Ellen Waterman. "Barnyard Drama's chansons de métissage." Musicworks 99 (2007): 25-31.

Ellen Waterman. "In and Out of the Sound Studio," co-authored with Andra McCartney, introductory essay for special issue of Intersections (formerly Canadian University Music Review) In and Out of the Sound Studio: Women, Gender and Technology. Andra McCartney and Ellen Waterman, eds. 26.2 (2006): 3-19.

Ellen Waterman. "Revisiting Haraway's Cyborg: the Non-innocent Music of Ellen Waterman." Vague Terrain 04: The Body Digital. http://www.vagueterrain.net, Sept 2006. Article and audio downloads: Kiss Me Baby, (Wo)männlicher Radio, and Wild Fruits 2: Like a ragged flock, like pulverized jade (with James Harley).

Ellen Waterman. "Lori Freedman: Clarinettist Immersed in Sound." Musicworks 94 (2006): 18-23.

Ellen Waterman. "Purposeful Play: Women Radiomakers in Community-Based Campus Radio in Canada." Atlantis: A Women's Studies Journal 30.2 (2006): 76-87.

Ellen Waterman. "Making No Noise: The Männlicher Carcano Radio Hour." Musicworks 84 (2002): 36-43.

Ellen Waterman. "Patria at the Millenium." Topia: A Canadian Journal of Cultural Studies 6 (2001): 21-44.

Ellen Waterman. "Confluence and Collaboration Part Two: Performing R. Murray Schafer's And Wolf Shall Inherit the Moon." Musicworks 72 (1998): 16-24.

Ellen Waterman. "R. Murray Schafer's And Wolf Shall Inherit the Moon: the Nexus of Ideal and Real Wilderness." Journal of Canadian Studies/Revue d'études Canadiennes 16 (1998): 139-151.

Ellen Waterman. "Wolf Music: Style, Context and Authenticity in R. Murray Schafer's And Wolf Shall Inherit the Moon." Canadian University Music Review 18:2 (1998): 72-88.

Ellen Waterman. "Confluence and Collaboration Part One, Patria the Epilogue: And Wolf Shall Inherit the Moon." Musicworks 70 (1998): 6-10.

Ellen Waterman. "Una perspectiva literaria y feminista de Cassandra's Dream Song de Brian Ferneyhough." Musica y mujeres: genero y poder. Trans. Jane Rigler and Rafael Liñân Madrid: Librer = Eda de mujeres, 1998. 191-209.

Ellen Waterman. "Cassandra's Dream Song: a Literary/Feminist Perspective." Perspectives of New Music 32 (2) 1994: 154-172.

Research Studies:

A Feminist Perspective on New Orleans Jazz Women. A two-year research study for the New Orleans Jazz National Historical Park (300-page report submitted September 30, 2004, available for researchers to use at New Orleans Jazz National Historical Park).