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The improvvisatore tradition in Florence Italy during the second half of the quattrocento featured poet-musicians who sang poetry for music (poesia per musica) accompanied by the lira (da braccio). Th...
Stepping into My Music Therapy Journey Abroad My journey into music therapy began in Canada where English is one of official languages; the other one is French. As a non-English speaker, I frequently...
This paper investigates free improvisation from the perspectives offered by cognitive distribution theories as pioneered by Vygotsky, Wundt, and Mead. Using a hypothetical 'script' of an improvised pe...
The enterprise of musical improvisation is examined as a fruitful source of approaches to urban planning, design, and theory. When musicians improvise, they cooperate and take risks in ways that recom...
In this essay, I look at Aoki’s recent work in order to consider the place of the Asian/American in the world of American improvisation and public presentation. Aoki’s long-term involvement in the (As...
Taking as its point of departure the improvised jazz-text collaboration between Ornette Coleman and Jacques Derrida at the 1997 Paris La Villette jazz festival, this article critiques the dominant pos...
Drawing on qualitative analytic studies of improvising musicians this paper discusses ways in which the construction and representation of self-identity can be observed in improvisational practice. Fo...
This article discusses my design and teaching of an interdisciplinary, multi-style course "Improvisation in Music". It discusses fundamental considerations on improvisation and a variety of pedagogica...
This essay responds to the twinned questions, "How do musicians learn to improvise?" and "What skills are they learning as they are doing so?" The pedagogical theory that is the outcome essentially re...
Jacques Attali writes that music can serve toinvent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those...
This paper presents an improvisation-based approach for teaching students to hear and understand aspects of twentieth-century music. The improvisation exercises are based on concepts taken from eight ...

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