Translating Improvisation _ Bibliography

10/31/2015 Translating Improvisation | Bibliography

http://translatingimprovisation.com/bibliography 1/13

B I B L I O G R A P H Y

Selected articles and books on Improvisation:

Abrahamson, E. (2006) A Perfect Mess: The Hidden Benefits of Disorder, London: Weidenfeld & Nicolson.

Adams, W.A. (2010) ‘“I Made a Promise to a Lady”: Critical Legal Pluralism as Improvised Law in Buffy the Vampire Slayer’, Critical

Studies in Improvisation, 6(1): 14 pp. (Special Issue: Lex Non Scripta, Ars Non Scripta: Law, Justice and Improvisation).

Adleman, D. (2010) ‘Free Jazz: Deconstricting Derridean Genre Theory’. Online. Available HTTP

(http://www.improvcommunity.ca/research/free-jazz-deconstricting-derridean-genre-theory) (accessed 8 June 2012).

Aldridge, D. (2001) ‘Music therapy and neurological rehabilitation: Recognition and the performed body in an ecological niche’,

Music Therapy Today. Online. Available HTTP

(www.wfmt.info/Musictherapyworld/modules/mmmagazine/issues/20020321100743/20020321102122/NeurorehabE.pdf)

(accessed 21 February 2014).

Alterhaug, B. (2004) ‘Improvisation on a Triple Theme: Creativity, Jazz Improvisation and Communication’, Studia Musicologica

Norvegica. 30: 97-118.

Arewa, O. (2011) ‘Creativity, Improvisation, and Risk: Copyright and Musical Innovation’, Notre Dame Law Review, 86(5): 1829-46.

Attali, J. (1985) Noise: The Political Economy of Music, trans. B. Massumi, Minneapolis and London: University of Minnesota Press.

Authers, B. (2010) ‘Truth in the Telling: Procedure, Testimony, and the Work of Improvisation in Legal Narrative’, Critical Studies in

Improvisation, 6(1): 6 pp. (Special Issue: Lex Non Scripta, Ars Non Scripta: Law, Justice and Improvisation).

Bailey, D. (1992) Improvisation: Its Nature and Practice in Music, 2nd edn, New York: Da Capo Press.

Baraka, A. (LeRoi Jones) (1963) Blues People: Negro Music in White America, New York: HarperCollins.

Berliner, P. (1994) Thinking in Jazz: The Infinite Art of Improvisation, Chicago and London: University of Chicago Press.

Beyer, J.A. (2000) ‘The Second Line: Reconstructing The Jazz Metaphor in Critical Race Theory’, Georgetown Law Journal, 88: 537-

563.

Borgo, D. (2014) ‘What the Music Wants’, in F. Schroeder and M. Ó hAodha (eds) Soundweavinging: Writings on Improvisation,

Newcastle upon Tyne: Cambridge Scholars Publishing, 33-51.

(http://translatingimprovisation.com)

Beyond Disciplines, Beyond Borders

http://www.improvcommunity.ca/research/free-jazz-deconstricting-derridean-genre-theory

http://translatingimprovisation.com/www.wfmt.info/Musictherapyworld/modules/mmmagazine/issues/20020321100743/20020321102122/NeurorehabE.pdf

http://translatingimprovisation.com/



— (2005) Sync or Swarm: Improvising Music in a Complex Age, New York and London: Continuum.

— (2002a) ‘Synergy and Surrealestate: The Orderly Disorder of Free Improvisation’, Pacific Review of Ethnomusicology, 10: 1-24.

— (2002b) ‘Negotiating Freedom: Values and Practices in Contemporary Improvised Music’, Black Music Research Journal, 22(2):

165-188.

Born, G. (2005) ‘On Musical Mediation: Ontology, Technology and Creativity’, Twentieth Century Music, 2: 7¬36.

Bourdieu, P. (1993) The Field of Cultural Production: Essays on Art and Literature, Cambridge: Polity Press.

Brody, R. (2011) ‘A Thing the Existence of Which: Jacques Derrida Interviews Ornette Coleman’, The New Yorker, 27 January 2011.

Online. Available HTTP (http://www.newyorker.com/online/blogs/movies/2011/01/jacques-derrida-interviews-ornette-

coleman.html) (accessed 8 June 2012).

Brunette, P. and Wills, D. (1994) ‘The Spatial Arts: An Interview with Jacques Derrida’, in P. Brunette and D. Wills (eds)

Deconstruction and the Visual Arts: Art, Media, Architecture, Cambridge: Cambridge University Press, 9-32.

Bucholtz, B.K. (2003) ‘On Canonical Transformations and the Coherence of Dichotomies: Jazz, Jurisprudence, and the University

Mission’, University of Richmond Law Review, 37: 425-469.

Caillois, R. (2001 [1962]) Man, play, and games, Illinois: University of Illinois Press.

Calmore, J.O. (1992) ‘Critical Race Theory, Archie Shepp, and Fire Music: Securing an Authentic Intellectual Life in a Multicultural

World’, Southern California Law Review, 65: 2129-230.

Cardew, C. (1971) ‘Towards an Ethic of Improvisation’, in C. Cardew Treatise Handbook, London: Edition Peters, 1971, xvii-xxi.

Chemillier, M. (2008) ‘La transcription musicale à l’ère de l’image animée. À propos des recherches sur l’improvisation et

l’ordinateur avec le logiciel OMax (Ircam/Compagnie Lubat)’. Online. Available HTTP

(http://ehess.modelisationsavoirs.fr/marc/publi/terrain/Transcription%20animee4revu.pdf) (accessed 8 June 2012).

Chevigny, P. (1991) Gigs: Jazz and the Cabaret Laws in New York City, New York and London: Routledge.

Cobussen, M. (2014) ‘Steps to an Ecology of Improvisation’, in F. Schroeder and M. Ó hAodha (eds) Soundweaving: Writings on

Improvisation, Newcastle upon Tyne: Cambridge Scholars Publishing, 31-45.

— (2008a) ‘Introduction’, New Sound, 32: 5-7 (Special Issue: Improvisation).

— (2008b) ‘Improvisation. An Annotated Inventory’, New Sound, 32: 9-22 (Special Issue: Improvisation).

— (2002a) ‘Deconstruction: Between Method and Singularity’, in M. Cobussen, Deconstruction in Music. Interactive Online

Dissertation. Available HTTP (http://www.deconstruction-in-music.com/navbar/index.html) (accessed 8 June 2012).

— (2002b) ‘Deconstruction in Music’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP

(http://www.deconstruction-in-music.com/navbar/index.html) (accessed 8 June 2012).

— (2002c) ‘Derrida’s Ear’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP


— (2002d) ‘Justification’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP


http://www.newyorker.com/online/blogs/movies/2011/01/jacques-derrida-interviews-ornette-coleman.html

http://ehess.modelisationsavoirs.fr/marc/publi/terrain/Transcription%20animee4revu.pdf

http://www.deconstruction-in-music.com/navbar/index.html






— (2002e) ‘Music, Deconstruction, and Ethics’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available

HTTP (http://www.deconstruction-in-music.com/navbar/index.html) (accessed 8 June 2012).

— (2002f) ‘Silence, Noise and Ethics’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTT

(http://www.deconstruction-in-music.com/navbar/index.html)P (accessed 8 June 2012).

Cobussen, M. and Finn, G. (2002) ‘InterMezzo: Creativity and Ethics, in Deconstruction, in Music’, ECHO: a music-centered journal,

4(2). Online. Available HTTP (http://www.echo.ucla.edu/Volume4-Issue2/intermezzo/index.html) (accessed 8 June 2012).

Coleman, O. And Derrida, J. (2004) ‘The Other’s Language: Jacques Derrida Interviews Ornette Coleman, 23 June 1997’, Genre,

Summer 2004: 319-28.

Collier, J.L. (1993) Jazz: The American Theme Song, New York and Oxford: Oxford University Press.

Collins, M. et al (2001) ‘Improvisation II: Western Art Music 3: The Baroque Period’, in S. Sadie and J. Tyrell (eds) The New Grove

Dictionary of Music and Musicians, 2nd edn, London: Macmillan Publishers.

Corbett, J. (1995) ‘Ephemera Underscored: Writing Around Free Improvisation’, in K. Gabbard (ed.) Jazz Among the Discourses,

Durham: Duke University Press, 217-40.

— (1994) Extended Play: Sounding Off From John Cage to Dr. Funkenstein, Duke University Press.

Cotterrell, R. (1976) Jazz Now: The Jazz Centre Society Guide, London: Quartet Books.

Crossan, M. (1998) ‘Improvisation in Action’, Organization Science, 9(5): 593-99 (Special Issue: Jazz Improvisation and Organizing).

Crouch, S. (1996) ‘Bird Land’, in R. Gottlieb (ed.) Reading Jazz: A Gathering of Autobiography, Reportage and Criticism from 1919 to

Now, London: Bloomsbury, 1023-33.

— (1998) ‘Blues to Be Constitutional: A Long Look at the Wild Wherefores of Our Democratic Lives as Symbolized in the Making of

Rhythm and Tune’, in R.G. O’Meally, Jazz: The Jazz Cadence of American Culture, New York: Columbia University Press.

Cumming, J.E. (2013) ‘Renaissance Improvisation and Musicology’, MTO: A Journal of the Society for Music Theory, 19(2). Online,

Available HTTP (http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.php) (accessed 21 February 2014).

Daquila, P. (2009a) ‘About this project’. Online. Available HTTP (http://www.theimprovisers.org/about/index.html) (accessed 8 June

2012).

— (2009b) ‘Alarmingly off-script’. Online. Available HTTP (http://www.theimprovisers.org/notebook/nb6.html) (accessed 8 June

2012).

— (2009c) ‘Preparing for the Unpredictable’. Online. Available HTTP (http://www.theimprovisers.org/docu/docu4.html) (Accessed 6

June 2012).

Dardess, G. (1975) ‘The Logic of Spontaneity: A Reconsideration of Kerouac’s “Spontaneous Prose Method”’, boundary2, 3(2): 729-

46.

Davies, R. (1987) ‘Player Kings and all that Jazz’, Observer Magazine, 15 February 1987: 24-9.

Davis, F. (1996) ‘Everycat and Birdland, Mon Amor’, in R. Gottlieb (ed.) Reading Jazz: A Gathering of Autobiography, Reportage and

Criticism from 1919 to Now, London: Bloomsbury, 1013-22.



http://www.echo.ucla.edu/Volume4-Issue2/intermezzo/index.html

http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.php

http://www.theimprovisers.org/about/index.html

http://www.theimprovisers.org/notebook/nb6.html

http://www.theimprovisers.org/docu/docu4.html



Davis, M. (1996) ‘Bird’, in R. Gottlieb (ed.) Reading Jazz: A Gathering of Autobiography, Reportage and Criticism from 1919 to Now,

London: Bloomsbury, 577-81.

Demsey, D. (2000) ‘Jazz Improvisation and Concepts of Virtuosity’, in B. Kirchner (ed.) The Oxford Companion to Jazz, Oxford and

New York: Oxford University Press, 788-798.

DeVeaux, S. (1997) The Birth of Bebop: A Social and Musical History, London: Picador.

Donat, G.S. (1997) ‘Fixing Fixation: A Copyright with Teeth for Improvisational Performers’, Columbia Law Review, 97(5): 1363-1405.

Eigenfeldt, A. (2007) ‘Real-time Composition or Computer Improvisation? A composer’s search for intelligent tools in interactive

computer music’. EMS: Electroacoustic Music Studies Network. Online. Available HTTP (www.ems-

network.org/IMG/pdf_EigenfeldtEMS07.pdf) (accessed 21 February 2014).

Ellison, R. (1953). Shadow and Act, London: Secker and Warburg.

— (1996) ‘Minton’s’, in R. Gottlieb (ed.) Reading Jazz: A Gathering of Autobiography, Reportage and Criticism from 1919 to Now,

London: Bloomsbury, 545-54.

Epstein, R.A. (2006) ‘Intuition, Custom, and Protocol: How to Make Sound Decisions with Limited Knowledge’, NYU Journal of Law

and Liberty, 2: 1-27.

Erenberg, L. (1981) Steppin’ Out: New York Nightlife and the Transformation of American Culture, 1890-1930, Westport,

Connecticut and London: Greenwood Press.

— (1998) Swingin’ the Dream: Big Band Jazz and the Rebirth of American Culture, Chicago and London: The University of Chicago

Press.

Eschen, P.M. von (2004) Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War, Cambridge and London: Harvard

University Press.

Esterhammer, A. (2004) Spontaneous Overflows and Reviving Rays: Romanticism and the Discourse of Improvisation, Vancouver:

Ronsdale Press.

Finkelstein, S. (1948) Jazz: A People’s Music, New York: International Publishers.

Finn, G. (2008) ‘One Time Alone: Improvisation Takes Place’, New Sound, 32: 203-29 (Special Issue: Improvisation).

Fischlin, D. (2003) ‘Take One/ Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making’, in D. Fischlin and A.

Heble (eds) Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making, Montréal, New York and London:

Black Rose Books, 10-43.

— (2010) ‘“Wild notes” … Improvisioning’, Critical Studies in Improvisation, 6(2): 10 pp.

Fischlin, D. and Ajay Heble (2004) ‘The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue’, in D. Fischlin and

A. Heble (eds) The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan

University Press, 1-42.

— (2003) Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making, Montréal, New York and London: Black

Rose Books.

http://translatingimprovisation.com/www.ems-network.org/IMG/pdf_EigenfeldtEMS07.pdf



Fischlin, D., Heble, A. and Lipsitz, G. (forthcoming) The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-creation,

Durham, North Carolina: Duke University Press.

Frisk, H. (2014) ‘Improvisation and the Self: To Listen to the Other’, in F. Schroeder and M. Ó hAodha (eds) Soundweavinging:

Writings on Improvisation, Newcastle upon Tyne: Cambridge Scholars Publishing, 153-169.

Gabbard, K. (1995a) ‘Introduction: The Jazz Canon and Its Consequences’, in K. Gabbard (ed.) Jazz Among the Discourses, Durham

and London: Duke University Press, 1-28.

— (2004) ‘Improvisation and Imitation: Marlon Brando as Jazz Actor’, in D. Fischlin and A. Heble (eds) The Other Side of Nowhere:

Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 298-318.

Gallope, M. (2011) ‘Is Improvisation Present?’ Online. Available HTTP

(http://cas.uchicago.edu/workshops/musichistorytheory/files/2011/10/GallopeImprovChapter10_19dblspc1.pdf) (accessed 8 June

2012). [Also published in G. Lewis and B. Piekut (eds) (forthcoming) The Oxford Handbook of Critical Improvisation Studies, Oxford:

Oxford University Press.]

Gates, H.L. Jr. (1988) The Signifying Monkey: A Theory of African-American Literary Criticism, Oxford: Oxford University Press.

Gillespie, J. (1979) To Be or Not to Bop: Memoirs of Dizzy Gillespie with Al Fraser, New York: Doubleday.

— (1996) ‘Minton’s Playhouse’, in R. Gottlieb (ed.) Reading Jazz: A Gathering of Autobiography, Reportage and Criticism from 1919

to Now, London: Bloomsbury, 555-72.

Gilroy, P. (1995) ‘“ … To Be Real”: The Dissident Forms of Black Expressive Culture’, in C. Ugwu (ed.) Let’s Get It On: The Politics of

Black Performance, London: ICA.

Gioia, T. (1997) The History of Jazz, New York and Oxford: Oxford University Press.

Gitler, I. (2001) The Masters of Bebop: A Listener’s Guide, Updated and Expanded, Cambridge, Massachusetts: Da Capo Press.

Goodman, K. (2008) Improvisation for the Spirit, Naperville, Illinois: Sourcebooks.

Gourse, L. (1995) Madame Jazz: Contemporary Women Instrumentalists: New York and Oxford: Oxford University Press.

— (1997) Straight, No Chaser: The Life and Genius of Thelonious Monk, New York: Schirmer Books.

Green, B. (1966) ‘Jazz’, The Observer, 20 November 1966: 32-6, 38-40, 42.

Griffin, F.J. (2001) If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday, New York: Free Press.

Hadler, M. (1995) ‘Jazz and the New York School’, in K. Gabbard (ed.) Representing Jazz, Durham: Duke University Press, 247-59.

Hall, T.S. (1999) ‘The Score as Contract: Private Law and the Historically Informed Performance Movement’, Cardozo Law Review 20:

1589-1614.

Hallam, E. and Ingold, T. (eds) (2007) Creativity and Cultural Improvisation, Oxford and New York: Berg.

Hatch, M. (1998) ‘Jazz as a Metaphor for Organizing in the 21st Century’, Organization Science, 9(5): 556-7 (Special Issue: Jazz

Improvisation and Organizing).

http://cas.uchicago.edu/workshops/musichistorytheory/files/2011/10/GallopeImprovChapter10_19dblspc1.pdf



Hatch, M. and Weick, K.E. (1998) ‘Critical Resistance to the Jazz Metaphor’, Organization Science, 9(5): 600-4 (Special Issue: Jazz


Heble, A. (2000) Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice, London and New York: Routledge.

— (2003) ‘Take Two/Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making’, in D. Fischlin and A. Heble

(eds) Rebel Musics: Human Rights, Resistant Sounds, and the Politics of Music Making, Montréal, New York and London: Black Rose

Books, 232-48.

— (2005) ‘Editorial – Improvising Matters: Rights, Risks, and Responsibilities’, Critical Studies in Improvisation 1(2): 1-3.

Heble, A. and Siddall, G. (2000) ‘Nice Work If You Can Get It: Women in Jazz’, in A. Heble, Landing on the Wrong Note: Jazz,

Dissonance, and Critical Practice, London and New York: Routledge, 141-65.

Heble, A. and Siemerling, W. (2010) ‘Voicing the Unforeseeable: Improvisation, Social Practise, Collaborative Research’. Online.

Available HTTP (http://www.improvcommunity.ca/research/voicing-unforseeable-improvisation-social-practice-collaborative-

research) (accessed 8 June 2012). [Also published in Brydon, D. and Dvořák, M. (eds) (forthcoming) Cross-Talk: Canadian and Global

Imaginaries in Dialogue, Waterloo: Wilfred Laurier University Press.]

Heble, A. and Wallace, R. (2013) People Get Ready: The Future is Now!, Durham, North Carolina: Duke University Press.

Heble, A. and Waterman, E. (2007) ‘Sounds of Hope, Sounds of Change: Improvisation, Pedagogy, Social Justice’, Critical Studies in

Improvisation/Etudes critiques en improvisation, 3 (2).

Hickmann, F. and Rebelo, P. (2014) ‘Indeterminacy and Game-Mediated Participation in Network Music Performance’, in F.

Schroeder and M. Ó hAodha (eds) Soundweavinging: Writings on Improvisation, Newcastle upon Tyne: Cambridge Scholars

Publishing, 131-149.

Hogg, B., (2011) ‘Enactive consciousness, intertextuality, and musical free improvisation: deconstructing mythologies and finding

connections’, in D. Clarke and E. Clarke (eds.) Music and Consciousness: philosophical, psychological, and cultural perspectives,

Oxford: Oxford University Press, 79-93.

— (2010) ‘Embodied Consciousness as a Site of Cultural mediation in Thinking about Musical Free Improvisation’ in D. Meyer-

Dinkgräfe (ed) Consciousness, Theatre, Literature and the Arts, Lincoln: Cambridge Scholars Press, 266-275.

Holiday, B. (with Dufty, W.) (1992 [1956]) Lady Sings the Blues, New York: Penguin Books.

Holmes, S. (2009) ‘In Case of Emergency: Misunderstanding Tradeoffs in the War on Terror’, California Law Review, 97: 301-54.

Hore, C. (1993) ‘Jazz – A People’s Music?’, International Socialism Journal, Winter 1993: 61. Online. Available HTTP

(http://pubs.socialistreviewindex.org.uk/isj61/hore.htm) (accessed 8 June 2012).

Howe, M.A. (1999) Genius Explained, Cambridge: Cambridge University Press.

Iyer, V. (2004) ‘Exploding the Narrative in Jazz Improvisation’, in R. O’Meally, B. Edwards and F. Griffin (eds) Uptown Conversation:

The New Jazz Studies, New York: Columbia University Press, 393-403.

Jarrett, M. (1998) Drifting on a Read: Jazz as a Model for Writing, Albany, New York: SUNY Press.

— (2004) ‘Cutting Sides: Jazz Record Producers and Improvisation’, in D. Fischlin and A. Heble (eds) The Other Side of Nowhere:

Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 319-49.

http://www.improvcommunity.ca/research/voicing-unforseeable-improvisation-social-practice-collaborative-research

http://pubs.socialistreviewindex.org.uk/isj61/hore.htm



Jones, G. (1991) Liberating Voices: Oral Tradition in African American Literature, Cambridge and London: Harvard University Press.

Jones, J. (2004) ‘Wild Ones’, The Guardian Weekend, 11 December 2004: 61-5.

Jost, E. (1994) Free Jazz (The Roots of Jazz), New York: Da Capo Press.

Kernfeld, B. (1995) What to Listen for in Jazz, New Haven and London: Yale University Press.

King, B. (2006) ‘Review of Colin Nettelbeck, Dancing with DeBeauvoir (2004)’, API Review of Books, 43 (2006). Online. Available HTTP

(http://www.api-network.com/main/index.php?

apply=reviews&webpage=api_reviews&flexedit=&flex_password=&menu_label=&menuID=homely&menubox=&Review=4650) (accessed

8 June 2012).

Kodat, C.G. (2003) ‘Conversing with Ourselves: Canon, Freedom, Jazz’, American Quarterly, 55(1): 1-28.

Kofsky, F. (1998a) Black Music, White Business: Illuminating the History and Political Economy of Jazz, New York: Pathfinder Press.

— (1998b [1970]) John Coltrane and the Jazz Revolution of the 1960s, 2nd edn, New York: Pathfinder Press.

Landgraf, E. (2011) Improvisation as Art: Conceptual Challenges, Historical Perspectives, New York and London: Continuum.

— (2009) ‘Improvisation: Form and Event—A Spencer-Brownian Calculation’, in B. Clarke and M.B.N. Hansen (eds) In Emergence

and Embodiment: New Essays on Second-Order Systems Theory, Durham, N.C.: Duke University Press, 179-204.

Lange, B.R. (2011) ‘Teaching the Ethics of Free Improvisation’, Critical Studies in Improvisation/Etudes critiques en improvisation,

7(2).

Lassonde, J. (2010) ‘Thoughts on an Improvisation’, Critical Studies in Improvisation/Etudes critiques en improvisation, 6(1): 3 pp.

(Special Issue: Lex Non Scripta, Ars Non Scripta: Law, Justice and Improvisation).

Laver, M. (2009) ‘“The Greatest Jazz Concert Ever”: Critical Discourse, European Aesthetics, and the Legitimization of Jazz’, Critical

Studies in Improvisation, 5(1): 13 pp.

Leonard, N. (1962) Jazz and the White Americans, Chicago and London: The University of Chicago Press.

Levinson, S. and Balkin, J.M. (1991) ‘Law, Music, and Other Performing Arts’, University of Pennsylvania Law Review, 139: 1597-1658.

Lewin, A.Y. (1998) ‘Jazz Improvisation as a Metaphor for Organization Theory’, Organization Science, 9(5): 539 (Special Issue: Jazz


Lewis, G.E. (2013) ‘Critical Responses to “Theorizing Improvisation (Musically)”’, MTO: A Journal of the Society for Music Theory,

19(2): 6 pp. Online. Available HTTP (http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.lewis.pdf) (accessed 21 February 2014).

— (2008) A Power Stronger Than Itself: The AACM and American Experimental Music, Chicago and London: The University of

Chicago Press.

— (2004a). ‘Gittin’ to Know Y’all: Improvised Music, Interculturalism and the Racial Imagination’, Critical Studies in

Improvisation/Etudes critiques en improvisation, 1(1).

— (2004b) ‘Afterword to “Improvised Music after 1950”: The Changing Same’, in D. Fischlin and A. Heble (eds) The Other Side of

Nowhere: Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 163-72.

http://www.api-network.com/main/index.php?apply=reviews&webpage=api_reviews&flexedit=&flex_password=&menu_label=&menuID=homely&menubox=&Review=4650

http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.lewis.pdf



— (2004c [1976]) ‘Improvised Music after 1950: Afrological and Eurological Perspectives’, in D. Fischlin and A. Heble (eds) The Other

Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 131-62.

Lewis, G.E. and Piekut, B. (forthcoming) The Oxford Handbook of Critical Improvisation Studies, Oxford: Oxford University Press.

Loewy, J. (2004) ‘Integrating Music, Language and the Voice in Music Therapy’, Voices: A World Forum for Music Therapy, 4(1).

Online. Available HTTP (https://voices.no/index.php/voices/article/view/140/116)(accessed 21 February 2014).

Lussier, M. (2011) ‘Book Review of The Philosophy of Improvisation by Gary Peters’, Critical Studies in Improvisation, 7(2): 3 pp.

McMullen, T. (2008) ‘Book Review of Sounding Out: Pauline Oliveros and Lesbian Musicality by Martha Mockus’, Critical Studies in

Improvisation, 4(2): 3 pp.

— (2010) ‘Subject, Object, Improv: John Cage, Pauline Oliveros, and Eastern (Western) Philosophy in Music’, Critical Studies in

Improvisation, 6(2): 13 pp.

Madson, P.R. (2005) Improv Wisdom: Don’t Prepare, Just Show Up, New York: Bell Tower.

Manderson, D. (2000) Songs Without Music: Aesthetic Dimensions of Law and Justice, Berkeley, Los Angeles and London: University

of California Press.

— (2010) ‘Fission and Fusion: From Improvisation to Formalism in Law and Music’, Critical Studies in Improvisation, 6(1): 9 pp.


Manderson, D. and Caudill, D. (1992) ‘Modes of Law: Music and Legal Theory – An Interdisciplinary Workshop Introduction’,

Cardozo Law Review, 20: 1325-9.

Margulies, P. (1997) ‘Doubting Doubleness, and All That Jazz: Establishment Critiques of Outsider Innovations in Music and Legal

Thought’, University of Miami Law Review, 51: 1155-1194.

Martin, P.J. (2002) ‘Spontaneity and Organisation’, in M. Cook and D. Horn (eds) The Cambridge Companion to Jazz, Cambridge:

Cambridge University Press.

Merriam, A.P. and Mack, R.W. (1960) ‘The Jazz Community’, Social Forces, 38(3): 211-22.

Metzer, D. (ed.) (1999) Writing Jazz, San Francisco: Mercury House.

Meyer, L.B. (2000) The Spheres of Music: A Gathering of Essays, Chicago: University of Chicago Press.

Meyer, L.B., Frost, P.J. and Weick, K.E. (1998) ‘Overture’, Organization Science, 9(5): 540-2 (Special Issue: Jazz Improvisation and

Organizing).

Mirvis, P.H. (1998) ‘Variations on a Theme’, Organization Science, 9(5): 586-92 (Special Issue: Jazz Improvisation and Organizing).

Monson, I. (1995) ‘The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse’, Journal of

American Musical Society, 48(3): 396-422.

— (1996) Saying Something: Jazz Improvisation and Interaction, Chicago and London: The University of Chicago Press.

Moseley, R. (2013) ‘Entextualization and the Improvised Past’, MTO: A Journal of the Society for Music Theory, 19(2). Online,

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