Philosophy of the Performing Arts

performance i: improvisation and rehearsal 153 improviser, far from creating ex nihilo , improvises against some sort of musical ...

154 performance as art an example of non-spontaneous improvisation. But this “example” seems to beg the question at issue. For, ...

performance i: improvisation and rehearsal 155 Improvisation on a theme In the most familiar scenario, a performer or a group of ...

156 performance as art not by dictating what they should do but by providing a framework within which the acceptability of impro ...

performance i: improvisation and rehearsal 157 of thin works. For some improvisations are very tightly structured around their t ...

158 performance as art Improvisational composition We noted above Alperson’s claim that there is an element of composition in im ...

performance i: improvisation and rehearsal 159 certain features must be present in correct performances of the work. But any giv ...

160 performance as art conventions are in place, then the improviser does not herself have to per- form a distinct act of compos ...

performance i: improvisation and rehearsal 161 that produces that construction in the very process of generating the sounds that ...

162 performance as art critics of Sessions have appealed here to work by the philosopher of cogni- tive science Diana Raffman. R ...

performance i: improvisation and rehearsal 163 the same considerations apply to non-improvisational but highly inflected interpr ...

164 performance as art Second, while Brown may be right in questioning the use of studio tech- niques in manipulating the sound ...

performance i: improvisation and rehearsal 165 It seems not. The same considerations that led us to question Kivy’s account of B ...

166 performance as art (2000, 2004). While I cannot hope to do justice to the richness of these studies and of the examples of t ...

performance i: improvisation and rehearsal 167 One reason for proceeding in this way was the sheer number of plays put on by any ...

168 performance as art the actors, and that the other principal source of revisions was the opinions of the audience on “first n ...

performance i: improvisation and rehearsal 169 contribute to the resulting work to a large extent in ignorance of how what they ...

170 performance as art not reflect the conception of the latter that is partly constitutive of the work they seek to perform. Th ...

performance i: improvisation and rehearsal 171 This is reflected in the fact that, as Stern notes, the OED identifies the first ...

1 Can There Be Artistic Performance Without an Audience? Without an Audience? When we last encountered Berthold and Magda, they ...