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Author:   Gary Peters
Publisher:   The University of Chicago Press
Imprint:   University of Chicago Press
Dimensions:   Width: 0.60cm , Height: 0.10cm , Length: 0.90cm
ISBN:  

9780226759272

ISBN 10:   022675927
Pages:   288
Publication Date:   25 September 2020
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Preface Acknowledgments Introduction 1 I've Started, so I'll Begin: Heidegger's Other Beginning and the Origin of Improvisation 2 With What Must the Improvisation Begin? Kant and Hegel on Certainty 3 Memoir: Lol Coxhill (In Memoriam) 4 Case Study: The Recedents (Lol Coxhill, Roger Turner, and Mike Cooper) 5 Precision, Decision, and Accuracy: Heidegger and Arendt on Singularity and Solitude 6 Decentered Center/Displaced Periphery: A Deleuzian Perspective 7 Memoir: San Sebastian Jazz Festival, July 20- 25, 1980 8 Case Study: Bernard Pretty Purdie 9 Fixing and Unfi xing Idioms and Non- Idioms: Developing Derek Bailey's Concept of Improvisation 10 A Diff erent Sameness: Borges and Deleuze on Repetition 11 Memoir: Bluegrass in Cheltenham 12 Case Study: The Del McCoury Band 13 Virtuality and Actualization: Deleuze and Bluegrass 14 Deleuzian Improvisation 15 Improvisation and Habit 16 Case Study: Jurij Konjar and Steve Paxton: The Goldberg Variations 17 Habit and Event: Rehearsing, Practising, Improvising 18 Memoir: The Woburn Pop Festival, 1968 19 Case Study: Jimi Hendrix 20 Composition, Improvisation, and Obligation: Schoenberg and Beckett on Duty 21 Bits and Scraps: Derek Bailey and the Improvised Situation 22 Memoir: Miles Davis, Royal Festival Hall, July 1984 23 Case Study: Cyndi Lauper, Time After Time Conclusion Notes Bibliography Index

Reviews

Peters offers a rich account of what is at stake--what is actually happening--in improvisational events. To do so he brings a remarkably wide range of philosophical perspectives into dialogue --Deleuze and Heidegger above all, but also Kant, Hegel, Nietzsche, Husserl, Levinas, Arendt, Derrida, and quite a few others. One of the most impressive things about this book is the creative way in which Peters draws pairs of authors into virtual conversation with one another, as well as the way he brings critical thought together with that of iconic improvisers from music and dance. --Chris Stover, The New School This book is an exceptionally sophisticated treatment of improvisation. Peters is equally immersed in music and philosophy, making this a substantial contribution and a giant step forward for the topic. --Michael Gallope, University of Minnesota [A]n ambitious attempt to reframe the way we think about improvisation and to phrase it in the vocabulary of Continental philosophy. Some of these terms are more transparent than others, and at times the path of the argument becomes entangled in an undergrowth of abstractions. Although it occasionally seems to lose its way--as can happen during an extemporized performance--the book contains some valuable insights into the nature of improvisation, particularly in regard to the preconditions underlying improvisation--the cognitive and physical resources that improvisation presupposes and indeed is dependent on. -- Arteidolia Peters presents a work on improvisation that is itself an improvisational work--what he calls in chapter 4 a 'live enactment of aesthetic judgment.' As not only a philosopher but an experienced musician with a wealth of knowledge of the subject, he clearly understands his topic both viscerally and philosophically. He provides more of an exploration than a philosophical foundation for improvisation. With lively descriptive and critical examples of jazz improvisers such as Lol Coxhill, Bernard Purdie, Charlie Parker, and his own band, Stinky Winkles, Peters displays an extensive background in Continental philosophy, music history, and education. Hegel, Nietzsche, Heidegger, Deleuze, and others are liberally referenced for theoretical connections. The reader should be warned that this book sometimes has a seat-of-the-pants feel that can be refreshing and stimulating at times but can seem scattered and arbitrary at other times, depending on the reader's taste and mood. Undeniably, the diligent will learn much about the history and theory of musical improvisation, and a lot of philosophy as well. This well-intentioned, often idiosyncratic and obscure book is an enlightening labor of love about a vexing but fascinating topic. Highly recommended. -- Choice Peters recent book analyses the experiences and creative moments of musical improvisation using a philosophical lens to bring the finer points into focus and to extract meaning from the improvising of improvisation... It's a book that I feel we should all try to read and re-read, again - like the Beckett quote in the book (during an interesting comparison between Derek Bailey and Samuel Beckett, and for more than just looks!) '...You must go on. I can't go on. I'll go on.' -- The Free Jazz Collective

[A]n ambitious attempt to reframe the way we think about improvisation and to phrase it in the vocabulary of Continental philosophy. Some of these terms are more transparent than others, and at times the path of the argument becomes entangled in an undergrowth of abstractions. Although it occasionally seems to lose its way--as can happen during an extemporized performance--the book contains some valuable insights into the nature of improvisation, particularly in regard to the preconditions underlying improvisation--the cognitive and physical resources that improvisation presupposes and indeed is dependent on. -- Arteidolia Peters offers a rich account of what is at stake--what is actually happening--in improvisational events. To do so he brings a remarkably wide range of philosophical perspectives into dialogue --Deleuze and Heidegger above all, but also Kant, Hegel, Nietzsche, Husserl, Levinas, Arendt, Derrida, and quite a few others. One of the most impressive things about this book is the creative way in which Peters draws pairs of authors into virtual conversation with one another, as well as the way he brings critical thought together with that of iconic improvisers from music and dance. --Chris Stover, The New School The Free Jazz Collective Peters presents a work on improvisation that is itself an improvisational work--what he calls in chapter 4 a 'live enactment of aesthetic judgment.' As not only a philosopher but an experienced musician with a wealth of knowledge of the subject, he clearly understands his topic both viscerally and philosophically. He provides more of an exploration than a philosophical foundation for improvisation. With lively descriptive and critical examples of jazz improvisers such as Lol Coxhill, Bernard Purdie, Charlie Parker, and his own band, Stinky Winkles, Peters displays an extensive background in Continental philosophy, music history, and education. Hegel, Nietzsche, Heidegger, Deleuze, and others are liberally referenced for theoretical connections. The reader should be warned that this book sometimes has a seat-of-the-pants feel that can be refreshing and stimulating at times but can seem scattered and arbitrary at other times, depending on the reader's taste and mood. Undeniably, the diligent will learn much about the history and theory of musical improvisation, and a lot of philosophy as well. This well-intentioned, often idiosyncratic and obscure book is an enlightening labor of love about a vexing but fascinating topic. Highly recommended. -- Choice Peters recent book analyses the experiences and creative moments of musical improvisation using a philosophical lens to bring the finer points into focus and to extract meaning from the improvising of improvisation... It's a book that I feel we should all try to read and re-read, again - like the Beckett quote in the book (during an interesting comparison between Derek Bailey and Samuel Beckett, and for more than just looks!) '...You must go on. I can't go on. I'll go on.' -- The Free Jazz Collective This book is an exceptionally sophisticated treatment of improvisation. Peters is equally immersed in music and philosophy, making this a substantial contribution and a giant step forward for the topic. --Michael Gallope, University of Minnesota The Free Jazz Collective

Peters presents a work on improvisation that is itself an improvisational work-what he calls in chapter 4 a 'live enactment of aesthetic judgment.' As not only a philosopher but an experienced musician with a wealth of knowledge of the subject, he clearly understands his topic both viscerally and philosophically. He provides more of an exploration than a philosophical foundation for improvisation. With lively descriptive and critical examples of jazz improvisers such as Lol Coxhill, Bernard Purdie, Charlie Parker, and his own band, Stinky Winkles, Peters displays an extensive background in Continental philosophy, music history, and education. Hegel, Nietzsche, Heidegger, Deleuze, and others are liberally referenced for theoretical connections. The reader should be warned that this book sometimes has a seat-of-the-pants feel that can be refreshing and stimulating at times but can seem scattered and arbitrary at other times, depending on the reader's taste and mood. Undeniably, the diligent will learn much about the history and theory of musical improvisation, and a lot of philosophy as well. This well-intentioned, often idiosyncratic and obscure book is an enlightening labor of love about a vexing but fascinating topic. Highly recommended. * Choice * [A]n ambitious attempt to reframe the way we think about improvisation and to phrase it in the vocabulary of Continental philosophy. Some of these terms are more transparent than others, and at times the path of the argument becomes entangled in an undergrowth of abstractions. Although it occasionally seems to lose its way-as can happen during an extemporized performance-the book contains some valuable insights into the nature of improvisation, particularly in regard to the preconditions underlying improvisation-the cognitive and physical resources that improvisation presupposes and indeed is dependent on. * Arteidolia * Peters recent book analyses the experiences and creative moments of musical improvisation using a philosophical lens to bring the finer points into focus and to extract meaning from the improvising of improvisation... It's a book that I feel we should all try to read and re-read, again - like the Beckett quote in the book (during an interesting comparison between Derek Bailey and Samuel Beckett, and for more than just looks!) '...You must go on. I can't go on. I'll go on.' * The Free Jazz Collective * Peters offers a rich account of what is at stake-what is actually happening-in improvisational events. To do so he brings a remarkably wide range of philosophical perspectives into dialogue -Deleuze and Heidegger above all, but also Kant, Hegel, Nietzsche, Husserl, Levinas, Arendt, Derrida, and quite a few others. One of the most impressive things about this book is the creative way in which Peters draws pairs of authors into virtual conversation with one another, as well as the way he brings critical thought together with that of iconic improvisers from music and dance. -- Chris Stover, The New School This book is an exceptionally sophisticated treatment of improvisation. Peters is equally immersed in music and philosophy, making this a substantial contribution and a giant step forward for the topic. -- Michael Gallope, University of Minnesota

Peters presents a work on improvisation that is itself an improvisational work-what he calls in chapter 4 a 'live enactment of aesthetic judgment.' As not only a philosopher but an experienced musician with a wealth of knowledge of the subject, he clearly understands his topic both viscerally and philosophically. He provides more of an exploration than a philosophical foundation for improvisation. With lively descriptive and critical examples of jazz improvisers such as Lol Coxhill, Bernard Purdie, Charlie Parker, and his own band, Stinky Winkles, Peters displays an extensive background in Continental philosophy, music history, and education. Hegel, Nietzsche, Heidegger, Deleuze, and others are liberally referenced for theoretical connections. The reader should be warned that this book sometimes has a seat-of-the-pants feel that can be refreshing and stimulating at times but can seem scattered and arbitrary at other times, depending on the reader's taste and mood. Undeniably, the diligent will learn much about the history and theory of musical improvisation, and a lot of philosophy as well. This well-intentioned, often idiosyncratic and obscure book is an enlightening labor of love about a vexing but fascinating topic. Highly recommended. * Choice * [A]n ambitious attempt to reframe the way we think about improvisation and to phrase it in the vocabulary of Continental philosophy. Some of these terms are more transparent than others, and at times the path of the argument becomes entangled in an undergrowth of abstractions. Although it occasionally seems to lose its way-as can happen during an extemporized performance-the book contains some valuable insights into the nature of improvisation, particularly in regard to the preconditions underlying improvisation-the cognitive and physical resources that improvisation presupposes and indeed is dependent on. * Arteidolia * Peters recent book analyses the experiences and creative moments of musical improvisation using a philosophical lens to bring the finer points into focus and to extract meaning from the improvising of improvisation... It's a book that I feel we should all try to read and re-read, again - like the Beckett quote in the book (during an interesting comparison between Derek Bailey and Samuel Beckett, and for more than just looks!) '...You must go on. I can't go on. I'll go on.' * The Free Jazz Collective * Peters offers a rich account of what is at stake-what is actually happening-in improvisational events. To do so he brings a remarkably wide range of philosophical perspectives into dialogue -Deleuze and Heidegger above all, but also Kant, Hegel, Nietzsche, Husserl, Levinas, Arendt, Derrida, and quite a few others. One of the most impressive things about this book is the creative way in which Peters draws pairs of authors into virtual conversation with one another, as well as the way he brings critical thought together with that of iconic improvisers from music and dance. -- Chris Stover, The New School This book is an exceptionally sophisticated treatment of improvisation. Peters is equally immersed in music and philosophy, making this a substantial contribution and a giant step forward for the topic. -- Michael Gallope, University of Minnesota The case studies are valuable and most fluent are those concerning music, for Peters is an accomplished multi-instrumentalist. * Koninklijke Brill NV *

Author Information

Gary Peters is chair of philosophy and performance and head of research at York St. John University. He is the author of Irony and Singularity: Aesthetic Education from Kant to Levinas and The Philosophy of Improvisation.

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