English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article hazards a definition of improvisation as a "contingent encounter," not in order to settle definitional debates, but in order to productively re-evaluate questions around improvisation as an aesthetic and socio-political force. Here, I argue that thinking improvisation through contingency highlights several key characteristics while leaving behind a set of problematic assumptions that often accompanies thinking improvisation in social spaces. First, I outline these characteristics, establishing what it might mean to bring contingency to bear on a musical performance. Subsequently, I compare two instances of "transatlantic improvised music": Eric Dolphy's "Out to Lunch," and "Waves, Linens, and White Light" by contemporary free improvisers, Mr. K. I conclude by sketching some of the implications of taking this experimental definition seriously, arguing that it re-orients improvisation away from a rarefied behavior and more towards a potentiality hidden inside each moment.

Improvisation as Contingent Encounter, Or: The Song of My Toothbrush