LEADER 02237nam 2200457 450 001 9910796713303321 005 20230715102702.0 010 $a1-78320-675-6 035 $a(CKB)4100000004907281 035 $a(MiAaPQ)EBC7261558 035 $a(Au-PeEL)EBL7261558 035 $a(EXLCZ)994100000004907281 100 $a20230715d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe lived experience of improvisation $ein music, learning and life /$fSimon Rose 205 $a1st ed. 210 1$aBristol, England :$cIntellect Ltd.,$d[2017] 210 4$dİ2017 215 $a1 online resource (237 pages) 225 1 $aISSN 311 $a1-78320-673-X 320 $aIncludes bibliographical references. 330 $aImprovisation is crucial to a wide range of artistic activities - most prominently, perhaps, in music, but extending to other fields of experience such as literature and pedagogy. Yet it gets short shrift in both appreciation and analysis of art within education. This is in no small part due to our tendency to view the world in fixed categories and structures that belie our ability to generate creative, groundbreaking responses within and between those structures.             The Lived Experience of Improvisation draws on an analysis of interviews with highly regarded improvisers, including Roscoe Mitchell, Pauline Oliveros and George Lewis. Simon Rose also exploits his own experience as a musician and teacher, making a compelling case for bringing back improvisation from the margins. He argues that improvisation is a pervasive aspect of being human and that it should be at the heart of our teaching and understanding of the world. 410 0$aISSN 606 $aImprovisation in art 606 $aImprovisation in dance 615 0$aImprovisation in art. 615 0$aImprovisation in dance. 676 $a781.36 700 $aRose$b Simon$f1961-$01521895 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910796713303321 996 $aThe lived experience of improvisation$93761352 997 $aUNINA