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Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws and the Unfinished [Mīkstie vāki]

Edited by (Max Planck Institute for Empirical Aesthetics, Germany), Edited by (Durham University, UK)
  • Formāts: Paperback / softback, 416 pages, height x width x depth: 232x154x24 mm, weight: 640 g, 27 bw illus
  • Izdošanas datums: 21-Apr-2022
  • Izdevniecība: Bloomsbury Academic
  • ISBN-10: 1350331031
  • ISBN-13: 9781350331037
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Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws and the UnfinishedPalielināt
  • Formāts: Paperback / softback, 416 pages, height x width x depth: 232x154x24 mm, weight: 640 g, 27 bw illus
  • Izdošanas datums: 21-Apr-2022
  • Izdevniecība: Bloomsbury Academic
  • ISBN-10: 1350331031
  • ISBN-13: 9781350331037
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781350331037.html
Keywords:

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions.

Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse.

The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate.

Recenzijas

Failure, uncertainty, risk and imperfection are the topics that Hamilton and Pearson bring together, in a constellation of essays, interviews, music analysis and reflections by creative artists and writers. They show that if we embrace imperfection, we are celebrating the essence of human creativity. This book offers us solace that art will survive for as long as humans do. * Tania Caroline Chen, soundartist on piano, astro-electronics and ambient objects * This lively collection of essays and interviews offers a fresh and vital addition to studies of creativity. The volume gives practitioners the space for insightful, probing, analytic and honest reflections on their practice. Strongly recommended as a model for further explorations into creativity, as well as for the rich and engaging provocations it contains. * Philip Thomas, Professor of Performance, Huddersfield University * This book addresses very clearly some of the central artistic and musical questions that have defined my working life. The contributors help me ponder the issues of imperfection vs. perfection anew. * Gavin Bryars, composer *

Papildus informācija

The first in-depth collection dedicated to the significance and value of imperfection in the arts bringing together theoreticians and practitioners and featuring a broad range of global art forms.
List of figures
x
List of contributors
xii
Acknowledgements xvi
Introduction 1(10)
Andy Hamilton
Lara Pearson
Part I The positive value of imperfection
1 The aesthetics of imperfection: The finished work, and process versus product Andy Hamilton
11(9)
2 Taking aim at imperfection David Lloyd
20(8)
3 The aesthetics of imperfection John Tilbury
28(8)
4 Reflections on the value of imperfection in crafts through the Japanese philosophy of wabi-sabi Vasiliki Tsaknaki
36(9)
5 Built from the root, ever-changing at the bloom: The role of imperfection in systems of musical phonology, morphology and syntax Nate Wooley
45(8)
6 Imperfect world Linda Catlin Smith
53(8)
Part II Social and cultural context
7 A socially situated approach to aesthetics: Games and challenges in Karnatak music Lara Pearson
61(12)
8 A social aesthetics of imperfection: Spontaneity and meaning in pop on the streets of China Samuel Horlor
73(13)
9 Age, process and self-raising flour Cara Stacey
86(6)
10 Learning music aesthetics through imperfection: The transmission of shakuhachi music Kiku Day
92(13)
Part III Composition versus improvisation
11 The interdependence of composition and improvisation Rohan de Saram
105(7)
12 Improvising beyond Hamilton's aesthetics of imperfection Louise Gibbs
112(12)
13 Better than perfect: Dave Brubeck and the aesthetics of imperfection Darius Brubeck
124(7)
14 The aesthetics of imperfection in jazz and free improvisation Trevor Barre
131(8)
15 Decisions, revisions, intentions and integrity: A subjective understanding of composition and improvisation Paul Edis
139(7)
16 A literary aesthetic of perfection and imperfection Rebecca Wallbank
146(13)
Part IV Interpretation and freedom
17 Embracing serendipity in classical performance Stephanie Cant
159(7)
18 That is not freedom, that is taking licence: The pitfalls in performing Morton Feldman's graph scores John Snijders
166(10)
19 Expanding the ideal: Systemic music as a dialogue of becoming Kris Tiner
176(13)
Part V Risk, disruption and failure
20 Live coding and failure Shelly Knotts
189(13)
21 The aesthetics of failure Claire Zakiewicz
202(10)
22 The mistake as material Corey Mwamba
212(13)
23 The aesthetics of imperfection: Mistakes and hearing what you intend Enrico Pieranunzi
225(5)
24 Risk in improvisation and in comedy Donnchadh O'Conaill
230(8)
25 Risk, failure and courage: Improvisation and stand-up comedy Victor Dura-Vila
238(10)
26 Inciting uncertainty Mike Baggetta
248(5)
27 Championing risk and discovery: Satoko Fujii and the experimental composition-improvisation continuum Alister Spence
253(16)
Part VI Collaboration in performance
28 Imperfect unity and productive frictions: Ethics and aesthetics of play in dance improvisation Annie Kloppenberg
269(11)
29 Cross purposes: Imperfect interactions when improvising with others Graeme B. Wilson
280(9)
30 An audience for free jazz: Joe McPhee Interviewed Joe McPhee
289(4)
31 Is love too strong a term?: The dissolution of distinction between aesthetics and sociality in a moving orchestra Jim Denley
293(14)
Part VII The instrumental impulse
32 The instrumental impulse: Developing a free improvisation vocabulary for alternative keyboard instruments Adam Fairhall
307(12)
33 Rarely heard, small unwanted sounds form the focus David Brown aka Candlesnuffer
319(11)
34 The disagreeable subject of Varese's father: In conversation with David Brown Reuben Lewis
330(5)
35 The Necks on the aesthetics of imperfection Chris Abrahams, Lloyd Swanton and Tony Buck
335(7)
36 Stardust: Seeing and imagining what isn't there Martin Mayes
342(13)
Part VIII Finished and unfinished work
37 Architecture of imperfection: Unfinished sketches and Burke's sublime Elizabeth Baldwin Gray
355(12)
38 Still water moves Philip G. Robinson
367(5)
39 Notating perfection?: Beethoven and the late string quartets Rachel Stroud
372(11)
Index 383
Andy Hamilton teaches Philosophy at Durham University, UK.

Lara Pearson is a Postdoctoral Researcher at the Max Planck Institute for Empirical Aesthetics, Germany.