Translating Improvisation | Bibliography
Bibliography

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 (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 (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.

— (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 (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 (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 (accessed 8 June 2012).

— (2002b) ‘Deconstruction in Music’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP (accessed 8 June 2012).

— (2002c) ‘Derrida’s Ear’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP (accessed 8 June 2012).

— (2002d) ‘Justification’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP (accessed 8 June 2012).

— (2002e) ‘Music, Deconstruction, and Ethics’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP (accessed 8 June 2012).

— (2002f) ‘Silence, Noise and Ethics’, in M. Cobussen, Deconstruction in Music. Interactive Online Dissertation. Available HTTP (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 (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 (accessed 21 February 2014).

Daquila, P. (2009a) ‘About this project’. Online. Available HTTP (accessed 8 June 2012).

— (2009b) ‘Alarmingly off-script’. Online. Available HTTP (accessed 8 June 2012).

— (2009c) ‘Preparing for the Unpredictable’. Online. Available HTTP (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.

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 (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.

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 (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).

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

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 (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 (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.

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  (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 Improvisation and Organizing).

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 (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.

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

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, Available HTTP (accessed 21 February 2014).

Muyumba, W.M. (2009) The Shadow and the Act: Black Intellectual Practice, Jazz Improvisation, and Philosophical Pragmatism, Chicago and London: The University of Chicago Press.

Nachmanovitch, S. (1990) Free Play: Improvisation in Life and Art, New York: Jeremy P. Tarcher/Putnam.

Neal, M.A. (2004) ‘“…A Way Out of No Way”: Jazz, Hip-Hop, and Black Social Improvisation’, in D. Fischlin and A. Heble (eds) The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 195-223.

Nettelbeck, C. (2004) Dancing With DeBeauvoir: Jazz and the French, Victoria: Melbourne University Publishing.

Nettl, B. (2013) ‘Contemplating the Concept of Improvisation and Its History in Scholarship’, MTO: A Journal of the Society for Music Theory, 19(2). Online, Available HTTP (accessed 21 February 2014).

Newton, F. (1959) The Jazz Scene, Harmondsworth, Middlesex: Penguin Books.

Nicholls, T. (2012) An Ethics of Improvisation: Aesthetic Possibilities for a Political Future, Lanham, Maryland and Plymouth, UK: Lexington Books.

— (2010) ‘Speaking Justice, Performing Reconciliation: Twin Challenges for a Postcolonial Ethics’, Critical Studies in Improvisation, 6(1): 15 pp. (Special Issue: Lex Non Scripta, Ars Non Scripta: Law, Justice and Improvisation).

Nooshin, L. (2013) ‘Beyond the Radif: New Forms of Improvisational Practice in Iranian Music’, MTO: A Journal of the Society for Music Theory, 19(2). Online, Available HTTP (accessed 21 February 2014).

Nooshin, L. and Widdess, R. (2006) ‘Improvisation in Iranian and Indian Music’, Journal of the Indian Musicological Society, 36/37: 104–119.

Nunn, T. (1995) ‘Wisdom of Impulse: On the Nature of Musical Free Improvisation’. Online. Available HTTP (accessed 21 February 2014).

Ogren, K.J. (1989) The Jazz Revolution: Twenties America and the Meaning of Jazz, New York and Oxford: Oxford University Press.

Oliveros, P. (2005) Deep Listening: A Composer’s Sound Practice, Lincoln, New England: iUniverse.

Osofsky, G. (1963) Harlem: The Making of a Ghetto. Negro New York, 1890-1930, New York and Evanston: Harper and Row.

Ostransky, L. (1978) Jazz City: The Impact of Our Cities on the Development of Jazz, New Jersey: Prentice-Hall.

Panish, J. (1997) The Color of Jazz: Race and Representation in Postwar American Culture, Jackson: University Press of Mississippi.

Parker, E. (2014) ‘Introduction’, in F. Schroeder and M. Ó hAodha (eds) Soundweavinging: Writings on Improvisation, Newcastle upon Tyne: Cambridge Scholars Publishing, 1-7.

Parkinson, A. (2014) ‘Encountering Musical Objects: Object Oriented Philosophy, Improvisation and an Ethics of Listening’, in F. Schroeder and M. Ó hAodha (eds) Soundweavinging: Writings on Improvisation, Newcastle upon Tyne: Cambridge Scholars Publishing, 33-73.

Peplowski, K. (1998) ‘The Process of Improvisation’, Organization Science, 9(5): 560-1 (Special Issue: Jazz Improvisation and Organizing).

Peretti, B.W. (1997) Jazz in American Culture, Chicago: Ivan R. Dee.

— (2007) Nightclub City: Politics and Amusement in Manhattan, Philadelphia: University of Pennsylvania Press.

Perlman, A.M. and Greenblatt, D. (1981) ‘Miles Davis Meets Noam Chomsky: Some Observations on Jazz Improvisation and Language Structure’, in W. Steiner (ed.) The Sign in Music and Literature, Austin: University of Texas Press, 169-83.

Peters, G. (2005) ‘Can Improvisation be Taught?’, The International Journal of Art and Design Education, 24(3): 299-306.

— (2009) The Philosophy of Improvisation, Chicago and London: The University of Chicago Press.

Petersen, H. (1998) ‘On Law and Music: From Song Duels to Rhythmic Legal Orders?’, Journal of Legal Pluralism and Unofficial Law, 44: 75-87.

Piper, T. (2010) ‘The Improvisational Flavour of Law, the Legal Taste of Improvisation’, Critical Studies in Improvisation, 6(1): 5 pp. (Special Issue: Lex Non Scripta, Ars Non Scripta: Law, Justice and Improvisation).

Pope, R. (2005) Creativity: Theory, History, Practice, London and New York: Routledge.

Postema, G.J. (2004) ‘Melody and Law’s Mindfulness of Time’, Ratio Juris, 17(2): 203-26.

Prévost, E. (2004) ‘The Discourse of a Dysfunctional Drummer: Collaborative Dissonances, Improvisation, and Cultural Theory’, in D. Fischlin and A. Heble (eds) The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, Middletown, Connecticut: Wesleyan University Press, 353-66.

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