MARC Record from marc_columbia

LEADER: 05942cam a2200445 i 4500
001 14976015
005 20200921093646.0
008 190628t20202020ncua b 001 0 eng
010 $a 2019027309
035 $a(OCoLC)on1104469697
040 $aDLC$beng$erda$cDLC$dOCLCO$dYDX
019 $a1104414975
020 $a9781478006800$qhardcover
020 $a1478006803$qhardcover
020 $a9781478008149$qpaperback
020 $a1478008148$qpaperback
020 $z9781478009122$qelectronic book
035 $a(OCoLC)1104469697$z(OCoLC)1104414975
042 $apcc
050 00 $aML3916$b.P58 2020
082 00 $a781.3/6$223
049 $aZCUA
245 00 $aPlaying for keeps :$bimprovisation in the aftermath /$cDaniel Fischlin and Eric Porter, editors.
264 1 $aDurham :$bDuke University Press,$c2020.
264 4 $c©2020
300 $ax, 336 pages :$billustrations ;$c23 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aImprovisation, community, and social practice
504 $aIncludes bibliographical references and index.
520 $a"PLAYING FOR KEEPS is an edited volume of essays exploring the global dimensions of musical improvisation. The editors are interested in what they call the "aftermaths" associated with improvisational music practices: the various ways musical improvisation can respond in the aftermath of trauma, and the imagined possibilities that lie in the wake of improvisatory performance. The volume is presented as global case studies, each offering an example of how musical improvisation can foster communal responses to the realities of colonialism, imperialism, and war. By turning its attention to the global scale, this volume seeks to complicate the notion, popular within North American contexts, that improvisation necessarily leads to liberation. Instead, the editors seek to situate improvisation within local contexts, and, by examining how improvisational music practices are enmeshed in local and global power structures, point to improvisation as a site of potentiality. The volume is comprised of twelve chapters, with an introduction by the editors. Chapter One, Matana Roberts's poem "manifesto," stages improvisatory practice on the page in the form of a response to the Preamble of the United States Constitution. In chapter 2, Stephanie Vos examines the communal response to the burglary of the Zimology Institute in South Africa-an institute dedicated to educational programs about musical improvisation-which itself took the form of an improvisational music performance. Chapter 4, an interview with jazz musician and composer Vijay Iyer, examines Iyer's collaborative project Holding it Down, a performance of poetry and music that explores the experiences of US veterans of color. This chapter, in particular, complicates notions of improvisation, as Iyer claims that both oppressed people and their oppressors use improvisatory practices to accomplish their respective goals. In Chapter 8 Darci Sprengel documents the use of Tarab, a practice of "deep listening" that dissolves the distinction between self and other, by Mini Mobile Concerts (MMC), an improvisational concert group active in post-Mubarak Egypt. In particular, Sprengel focuses on how the improvisational practices of MMC addressed the topic of sexual assault, thereby renegotiating the gendered public space of the street. Chapter 9, an interview with Reem Abdul Hadi and Odej Turjman of the Al Mada Association for Art-Based Community, examines how Palestinians in the Occupied West Bank and Palestine use music improvisation to negotiate the erasure of their land, culture, and identity. Other locations explored in the volume include Afro/Canarian jazz in the Canary Islands; indigenous music practices in Canada; jazz and civil rights in the United States; and popular music in Israel. This volume will be of interest to scholars of jazz, music studies, performance theory, and cultural studies, as well as colonial and postcolonial studies"--$cProvided by publisher.
505 0 $aManifesto / Matana Roberts -- The Exhibition of Vandalizim : Improvising Healing, Politics, and Film in South Africa / Stephanie Vos -- The Rigors of Afro/Canarian Jazz : Sounding Peripheral Vision with Severed Tongues / Mark Lomanno -- "Opening Up a Space that Maybe Wouldn't Exist Otherwise" / Holding It Down in the Aftermath / Vijay Iyer, in conversation with Daniel Fischlin and Eric Porter -- Experimental and Improvised Norths : The Sonic Geographies of Tanya Tagaq's Collaborations with Derek Charke and the Kronos Quartet / Kate Galloway -- Nina Simone: CIVIL JAZZ! / Randy DuBurke -- Free Improvised Music in Postwar Beirut : Differential Sounds, Intersectarian Collaborations, and Critical Collective Memory / Rana El Kadi -- Street Concerts and Sexual Harassment in Post-Mubarak Egypt: Ṭarab as Affective Politics / Darci Sprengel -- Improvisation, Grounded Humanity, and Witnessing in Palestine : An Interview with Al Mada's Odeh Turjman and Reem Abdul Hadi-Hadi / Daniel Fischlin -- "Silsulim" (Improvised "Curls") in the Vocal Performance of Israeli Popular Music: Identity, Power, and Politics / Moshe Morad -- Three Moments in Ki Ho'alu (Hawaiian Slack Key Guitar) : Improvising as a Kanaka Maoli (Native Hawaiian) Adaptive Strategy / Kevin Fellezs -- From Pre-Peace to Post-Conflict : The Ethics of (Non-) Listening and Cocreation in a Divided Society / Sara Ramshaw and Paul Stapleton.
650 0 $aImprovisation (Music)$xPolitical aspects.
650 0 $aImprovisation (Music)$xSocial aspects.
700 1 $aFischlin, Daniel,$eeditor.
700 1 $aPorter, Eric,$d1962-$eeditor.
776 08 $iOnline version:$tPlaying for keeps$dDurham : Duke University Press, 2020.$z9781478009122$w(DLC) 2019027310
830 0 $aImprovisation, community, and social practice.
852 00 $bmus$hML3916$i.P58 2020