LEADER 03319oam 2200469z- 450 001 9910417794503321 005 20211222123725.0 035 $a(CKB)5310000000011319 035 $a(EXLCZ)995310000000011319 100 $a20220209c2018uuuu -u- - 101 0 $aeng 200 00$aFree improvisation $ehistory and perspectives /$feditors, Alessandro Sbordoni, Antonio Rostagno ; collaborazione redazionale di Vera Vecchiarelli e Gianluca Chelini 210 $cLIM - Libreria Musicale Italiana 311 $a88-7096-966-5 330 $aThe book, on the initiative of Associazione Nuova Consonanza-Rome in collaboration with Sapienza-Univeristy of Rome, addresses two relevant aspects of the conceptual and pracitcal field of improvisation in general, and of 'free improvisation' in particular, mainly in the 1960s and 1970s. On the one hand, some precise historical moments are investigated, documented and dicussed; on the other hand, some theoretical and analytical criteria are brought into focus. The main objective is to clarify the historical context within which the activities of the Gruppo di Improvvisazione Nuova Consonanza (GINC) took place, introducing also other similar experiences such as the Chicago Art Ensemble, or other figures such Giacinto Scelsi, Giovanni Guaccero, Cornelius Cardew, Mario Bertoncini, Walter Branchi, Alvin Curran and other protagonists of the improvisational scene in Rome (and beyond) in those decades. 330 $aA second part is concerned with philosophical, analytical or theoretical aspects of improvisation, within and beyond the experience of GINC: musical improvisation as a form of interpersonal relationship, new ways of subjectivity, empathic intentions inside and outside European culture, new paradigms of musical practice (such as Sbordoni's idea of 'composing in dialogue'), renewed questions about the relationship between composition and improvisation in other levels of the musical world from the 1960s to the current practices. A final section of the book focuses on two important experiences in improvisation: the GINC, of course, and Giacinto Scelsi considered as an improviser (a very delicate subject), with presentation, analysis and discussion of new sources and transcriptions. 517 $aFree improvisation 606 $aImprovisation (Music)$vCongresses 606 $aImprovisation (Music)$xHistory$vCongresses 606 $aImprovisation (Music)$2fast$3(OCoLC)fst00968306 606 $aMusikalische Auffu?hrungspraxis$2gnd 606 $aMusik$2gnd 606 $aImprovisation$2gnd 608 $aConference papers and proceedings.$2fast 608 $aHistory.$2fast 608 $aKonferenzschrift$y2017$zRom.$2gnd 608 $aConference papers and proceedings.$2lcgft 615 0$aImprovisation (Music) 615 0$aImprovisation (Music)$xHistory 615 7$aImprovisation (Music) 615 7$aMusikalische Auffu?hrungspraxis 615 7$aMusik 615 7$aImprovisation 686 $aMUS$2fid$qDE-12 702 $aSbordoni$b Alessandro 702 $aRostagno$b Antonio 712 02$aNuova consonanza (Association), 712 12$aA? partire da un'intesa (Conference)$f(2017 :$eRome, Italy) 906 $aBOOK 912 $a9910417794503321 996 $aFree improvisation$93400280 997 $aUNINA