Soundweaving: Writings on Improvisation
- Submitting institution
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Queen's University of Belfast
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 125202522
- Type
- B - Edited book
- DOI
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- Publisher
- Cambridge Scholars Publishing
- ISBN
- 9781443853446
- Open access status
- -
- Month of publication
- January
- Year of publication
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This book is one of the culminations of Schroeder’s critical reflections on music improvisation practices. The reflections, which resulted in the invitation to edit and conceive of this volume, were the focus of Two Thousand + TEN symposium edition, which took place in November 2010 at the QUB Sonic Arts Research Centre. It featured invited speakers and improvisers Georgina Born and David Borgo. Schroeder’s own contribution of 30% entitled “Performing Improvisation – weaving fabrics of social systems” is literally ‘woven’, like a tactile fabric or woven cloth, amongst the chapters. One reason for this was Schroeder’s interest in the tactile and embodied engagement of musicians and their ‘tools’, and an urge to think of how a text might be read in more tactile ways. In so doing, Schroeder recalls the often-assumed division between tactility and criticality (informed by Hamlyn and Lacan). The weaving metaphor is explored on a critical and literal level, with a textile artist having woven a visual tapestry (photos included in the book) alongside the editing process.
The contributors’ writings are of an interdisciplinary, critical nature and shed light on the field of improvisation from different angles, offering radically diversifying contexts to improvisation studies. The writers explore improvisation as contentious, moving away from ‘objects’ and ‘outcomes’ towards the fragile social, cultural and political processes that are often at the core of improvisation practices.
An improviser herself Schroeder’s aim was to create something more tactile, more akin to the collective, processual experience of making sounds with others, connecting the improvising musicians on a sonic, cultural, social and performative level to others. Schroeder’s contribution is a novel way of editing texts, where all chapters are woven into an overall piece of writing, interlaced with her own contribution of around 40 pages.
- Author contribution statement
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- Non-English
- No
- English abstract
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