Difference between revisions of "JazzBibliography25pages"

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Brown, Steven, Michael J. Martinez, and Lawrence M. Parsons. “Music and Language Side by Side in the Brain: A PET Study of the Generation of Melodies and Sentences.” European Journal of Neuroscience 23 (2006): 2791–2803. Brown, Wesley. Tragic Magic. Hopewell, NJ: Ecco Press, 1978, 1995. See a review of this work by Aram Mrjoian, "The True Jazz of Wesley Brown's 'Tragic Magic', The Masthead, Southeast Review, Volume 39.1. Bruner, Jerome S., Alison Jolly, and Kathy Sylva, eds. Play: Its Role in Development and Evolution. New York: Basic Books, 1976. Bruns, Gerald. “De Improvisatione: An Essay on Kora in Hell.” In Inventions: Writing, Textuality, and Understanding in Literary Theory, 145–159. New Haven, CT: Yale University Press, 1982. Bruscia, K. E. Improvisational Models of Music Therapy. Springfield, IL: Charles C. Thomas, 1987. ———. “A Survey of Treatment Procedures in Improvisational Music Therapy, Psychology of Music 16, no. 1 (1988): 10–24. ———. Defining Music Therapy. Spring City, PA: Spring House Books, 1989. Buchanan, Herbert H. “Bop Harmony––A New Interdisciplinary Approach: PROLOG, Logic, and Artificial Intelligence.” Annual Review of Jazz Studies 4, 179–188. Edited by Dan Morgenstern, Charles Nanry, and David A. Cayer. New Brunswick, NJ: Transaction, 1988. Budds, Michael J. Jazz in the Sixties: The Expansion of Musical Resources and Techniques. Expanded Edition. Iowa City, IA: University of Iowa Press, 1990. Bunt, Leslie. Music Therapy: An Art beyond Words. New York: Routledge, 1994. Burnett, Michael. Jazz. Oxford Topics in Music Series. New York: Oxford University Press, 1985. Burrows, Jared B. “Musical Archtypes and Collective Consciousness: Cogntive Distribution and Free Improvisation.” Critical Studies in Improvisation 1, no. 1 (2004) [online journal only]. ———. Resonances: Exploring Improvisation and Its Implications for Music Education. Dissertation, Simon Fraser University, 2004. Cantrick, Robert. “Does ‘Musical Improvisation’ Refer?” Journal of Aesthetics and Art Criticism 43, no. 2 (Winter 1985): 192–193. Carner, Gary. The Miles Davis Companion: Four Decades of Commentary. New York: Schirmer Books, 1996. Carr, Ian. Keith Jarrett: The Man and His Music. London: Grafton, 1991; reprint edition, New York: Da Capo Press, 1991. Carter, Curits L. “Improvisation in Dance.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 181–190. Carvalho, John M. “Repetition and Self–Realization in Jazz Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 285–290. Cash, Debra. “ Response to Becker’s ‘The Etiquette of Improvisation’.” Mind, Culture, and Activity 7, no. 3 (2000): 177–179. Cavell, Stanley. “Music Discomposed,” in Must We Mean What We Say? A Book of Essays, 180–212. New York: Charles Scribner’s Sons, 1969; reprint edition, New York: Cambridge University Press, 1976. Caves, Richard E. “Economic Analysis and Steps toward Completing the Work.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 135–148 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006. Chan, Sau Y. “Exploding the Belly: Improvisation in Cantonese Opera.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 199–218. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Chanan, Michael. Repeated Takes: A Short History of Recording and Its Effects on Music. New York: Verso, 1995. Charney, Maurice. “Nonsense, both Calculated and Spontaneous, Is One of the Chief By– Products of Language,” 25–31. In Comedy High and Low: An Introduction to the Experience of Comedy. New York: Oxford University Press, 1978; reprint ed., New York: Peter Lang, 1993. Charters, Samuel. The Roots of the Blues: An African Search. Salem, NH: Marion Boyars, 1981; reprint edition, New York: Da Capo, 1991. Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. Third Edition. Dance Horizons Book. Pennington, NJ: Princeton Book Company, 1969, 1975, 1989. Chernoff, John Miller. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press, 1979. Christian, Harry. “Convention and Constraint Among British Semi–Professional Jazz Musicians. In Lost in Music: Culture, Style and the Musical Event, Sociological Review Monograph 31, 220–240. Edited by Avron Levine White. New York: Routledge, 1987. Christian, William A., Jr. “The Sting in the Tail: The Flourishing and Decline of Improvised Verse in the Mountains of Cantabira.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 121–134. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005. Chukovsky, K. “The Sense of Nonsense Verse.” In Play: Its Role in Development and Evolution, 596–602. Edited by Jerome S. Bruner, Alison Jolly, and Kathy Sylva. New York: Basic Books, 1976. Cobussen, Marcel. “Noise and Ethics: On Evan Parker and Alain Badiou.” Culture, Theory & Critique 46, no. 1 (2005): 29–42. Cochrane, Richard. “Playing by the Rules: A Pragmatic Characterization of Musical Performances.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 135–142. Coker, Jerry. Improvising Jazz. A Fireside Book. Forewords by Stan Kenton and Gunther Schuller. New York: Simon and Schuster, 1964, 1987. Cole, Bill. Miles Davis: A Musical Biography. New York: Morrow Quill Paperbacks, 1974. Coleman, Janet. The Compass: The Improvisational Theatre that Revolutionized American Comedy. New York: Alfred A. Knopf, 1990; reprint edition, Chicago: University of Chicago Press, 1991. Collier, James Lincoln. Duke Ellington. Great Achievers Series. New York: Collier, 1993. ———. “Jazz.” In The New Grove Dictionary of American Music, Volume 2, 535– 562. Edited H. Wiley Hitchcock and Stanley Sadie. London: MacMillan, 1986. ———. Jazz: The American Theme Song. New York: Oxford University Press, 1993. Conroy, Frank. “Stop Nitpicking a Genius,” Jazz: A Special Section, New York Times Magazine, June 25, 1995. Conti–Entin, Carol. Improvisation and Spiritual Disciplines: Continuing the Divine–Human Duet. Pendle Hill Pamphlet no. 288. Wallingford, PA: Pendle Hill Publications, 1989. Cook, Richard. It’s About That Time: Miles Davis On and Off Record. New York: Oxfrod University Press, 2007. 324 Cooke, Mervyn, and David Horn, eds. The Cambridge Companion to Jazz. New York: Cambridge University Press, 2002. Corbett, John. “Ephemera Underscored: Writing Around Free Improvisation.” In Jazz among the Discourses, 217–242. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. ———. Extended Play: Sounding Off from John Cage to Dr. Funkenstein. Durham, NC: Duke University Press, 1994. ———. “Out of Nowhere: Meditations on Deleuzian Music, Ant–Cadential Strategies, and Endpoints in Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 387–396. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Coulthard, Karl. “Looking for the Band: Walter Benjamin and the Mechanical Repreoudction of Jazz.” Critical Studies in Improvisation 3, no. 1 (2007) [online journal only]. Courtney, Richard. “Theater and Spontaneity.” The Journal of Aesthetic and Art Criticism 32, no. 1 (Autumn 1973): 79–88. Coveney, Michael. The World According to Mike Leigh. London: HarperCollins, 1996. Crease, Robert. “The Improvisational Problem.” Man and World 27, no. 2 (April 1994): 181– 193. ———. “Jazz and Dance.” In The Cambridge Companion to Jazz, 69–80. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002. ———. “Responsive Order: The Phenomenology of Dramatic and Scientific Performance.” In Creativity in Performance, Publications in Creativity Research Series, 213– 226. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997. Crispwell, Marilyn. “Elements of Improvisation.” In Arcana: Musicians on Music, 190– 192. Edited by John Zorn. New York: Granary Books, 2000. Czikszentmihalyi, Mihaly, and Grant Rich. “Musical Improvisation: A Systems Approach.” In Creativity in Performance, Publications in Creativity Research Series, 43–66. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997. Davidson, Clifford. “Improvisation in Medieval Drama.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 193–221. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. 325 Davies, David. Art as Performance. New Directions in Aesthetics Series. Malden, MA: Blackwell, 2004. Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. New York: Oxford University Press, Clarendon Press, 2001. Davis, Francis. “Blue Heaven: The Making of Miles Davis’s Masterpiece.” Review of Ashley Kahn, ‘Kind of Blue:’ The Making of the Miles Davis Masterpiece (New York: Da Capo Press, 2000), and Eric Nisenson, The Making of ‘Kind of Blue’ (New York: St. Martin’s Press, 2000). The New Yorker (December 4, 2000): 96, 98–100. ———. Outcats: Jazz Composers, Instrumentalists, and Singers. New York: Oxford University Press, 1990. Davis, Miles, and Quincy Troupe. Miles: The Autobiography. New York: Simon and Schuster, 1989. Day, William. “The Ends of Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 291–296. ———. “Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 99–112. de Lerma, Dominique–Rene, ed. Reflections on Afro–American Music. Kent, OH: Kent State University Press, 1973. de Ràfols, Wilfredo. “New Text, Old Theories: Oral and Improvisational Imperatives in Federico García Lorca’s ‘Romance Sonámbulo’.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 161–182. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005. Dean, Roger T. Creative Improvisation: Jazz, Contemporary Music, and Beyond. Buckingham, UK: Open University Press, 1989. ———. New Structures in Jazz and Improvised Music since 1960. Buckingham, UK: Open University Press, 1992. Demsey, David. “Jazz Improvisation and Concepts of Virtuosity.” In The Oxford Companion to Jazz, 788–798. Edited by Bill Kirchner. New York: Oxford University Press, 2000. Dessen, Michael. “Improvising in a Different Clave: Steve Coleman and AfroCuba de Matanzas.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 173–194. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. 326 327 de Mantaras, Ramon Lopez, and Josep Lluis Arcos. “AI and Music: From Composition to Expressive Performance.” Artificial Intelligence (Fall 2002): 43–57. DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. Berkeley, CA: University of California Press, 1997. ———. “This Is What I Do.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 118–125 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006. ———. Jazz in America: Who’s Listening? Research Division Report #31, National Endowment for the Arts. Carson, CA: Seven Locks Press, 1995. Dietrich, Arne. “Neurocognitive Meachanisms Underlying the Experience of Flow.” Consciousness and Cognition 13 (2004): 746–761. Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929–1964. Edited by Pryor Dodge. Introduction by Dan Morgenstern. New York: Oxford University Press, 1995. Dokecki, Paul. The Tragi–Comic Professional: Basic Considerations for Ethical Reflective– Generative Practice. Pittsburgh, PA: Duquesne University Press, 1996. Dorian, Frederick. The History of Music in Performance: The Art of Musical Interpretation from the Renaissance to Our Day. The Norton Library Series. Foreword by Eugene Ormandy. New York: W. W. Norton and Company, 1942. Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press, 1996. Dunachie, S. “An Investigation of the Improvisations of Mentally Handicapped Adults,” Music Therapy Research Register (The Association of Professional Music Therapists in Great Britain), 1991. Durant, Alan. “Improvisation in the Political Economy of Music.” In Music and Politics of Culture, 252–282. Edited by Christopher Norris. New York: St. Martin’s Press, 1989. Dyer, Geoff. But Beautiful: A Book about Jazz. New York: North Point Press, Farrar, Straus and Giroux, 1996. Edidin, Aron. “Three Kinds of Recording and the Metaphysics of Music.” British Journal of Aesthetics 39, no. 1 (January 1999): 24–39. Elliot, David J. “Jazz Education as Aesthetic Education,” Journal of Aesthetic Education 20, no. 1 (Spring 1986): 41–53. Elworth, Steven B. “Jazz in Crisis, 1948–1958: Ideology and Representation.” In Jazz among the Discourses, 57–75. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. Enstice, Wayne, and Paul Rubin. Jazz Spoken Here: Conversations with Twenty-Two Musicians. Baton Rouge, LA: Louisiana State University Press, 1992; reprint edition, New York: Da Capo, 1994. Esterhammer, Angela. “The Cosmopolitan Improvvisatore: Spontaneity and Performance in Romantic Poetics.” European Romantic Review 16, no. 2 (April 2005): 153–165. ———. “The Improviser’s Disorder: Spontaneity, Sickness, and Social Deviance in Late Romanticism.” European Romantic Review 16, no. 3 (July 2005): 329–340. ———. Spontaneous Overflows and Revivifying Rays: Ramanticism and the Discourse of Improvisation. The 2004 Garnett Sedgewick Memorial Lecture. Vancouver, BC, Canada: Ronsdale Press, 2004. Faulkner, Robert B. “Shedding Culture.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 91–117 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt-Gimblet. Chicago: University of Chicago Press, 2006. Feather, Leonard. The Encyclopedia Yearbooks of Jazz. New York: Horizon Press, 1956, 1958; reprint edition, New York: Da Capo, 1993. Feinstein, Sascha, and Yusef Komunyakaa, eds. The Jazz Poetry Anthology. Bloomington, IN: Indiana University Press, 1991. Feldenkrais, Moshe. The Potent Self: A Guide to Spontaneity. Edited by Michaeleen Kimmey. San Francisco: Harper and Row, 1985; reprint edition, San Francisco: HarperSanFrancisco, 1992. Ferand, Ernest T. Anthology of Music: Improvisation in Nine Centuries of Western Music. Edited by K.G. Fellerer. Köln: Arno Volk Verlag, 1961. Ferand, Ernst. Die Improvisation in der Musik: Eine Entwicklungsgeschichtliche und Psychologische Untersuchung. Zürich: Rhein–Verlag, 1938. Fernandez, James W. “Playfulness and Planfulness: Improvisation and Revitalization in Culture. Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 97– 120. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005. Finkelstein, Sidney. Jazz: A People’s Music. Foreword by Geoffrey Jacques. New York: International Publishers, 1948, 1988. 328 ———. How Music Expresses Ideas. New York: International Publishers, 1952. Finnegan, Ruth. Oral Poetry: Its Nature, Significance and Social Context. New York: Cambridge University Press, 1977. Fischlin, Daniel, and Ajay Heble. “The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 1–44. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. ———, eds. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, CT: Wesleyan University Press, 2004. Fischlin, Daniel, and Ajay Heble, and Benjamin Lefebvre. “Toward Further Dialogue: A Bibliography on Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 397–416. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Fitterling, Thomas. Thelonius Monk: His Life and Music. Foreword by Steve Lacy. Translated by Robert Dobbin. Berkeley, CA: Berkeley Hills Books, 1997. Floyd, Leela. Indian Music. Oxford Topics in Music Series. New York: Oxford University Press, 1980. Floyd, Samuel A., Jr. The Power of Black Music: Interpreting Its History from Africa to the United States. New York: Oxford University Press, 1995. Foley, John Miles. “Comparative Oral Traditions.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 65–82. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005. Fox, Jonathan, ed. The Essential Moreno: Writings on Psychodrama, Group Method, and Spontaneity by J.L. Moreno, M.D. New York: Springer, 1987. Freeman, Jane. “Shakespeare’s Rhetorical Riffs.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 247–272. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. Frith, Simon. Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press, 1996. ———, ed. World Music, Politics and Social Change: Papers from the International Association for the Study of Popular Music. Music and Society Series. New York: Manchester University Press, 1989. 329 330 Gabbard, Krin. Hotter than That: The Trumpet, Jazz, and American Culture. New York: Faber and Faber, 2008. ———. “Improvisation and Imitation: Marlon Brando as Jazz Actor.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 298–318. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. ———. Jammin’ at the Margins: Jazz and the American Cinema. Chicago: University of Chicago Press, 1996. ———, ed. Jazz Among the Discourses. Durham, NC: Duke University Press, 1995. ———, ed. Representing Jazz. Durham, NC: Duke University Press, 1995. Gair, Christopher. The Beat Generation. Beginner’s Guides Series. Oxford: One World, 2008. Gardner, William, and Barbara Rogoff. “Children’s Deliberateness of Planning According to Task Circumstances.” Developmental Psychology 26, no. 3 (1990): 480–487. Gatherer, Derek. “The Evolution of Music––A Comparison of Darwinian and Dialectical Methods.” Journal of Social and Evolutionary Systems 20, no. 1 (1997): 75–92. ———. “Feyerabend, Dawkins and the Politics of Cultural Diversity.” Anarchist Studies 5 (1997): 23–43. Gayle, Addison, Jr., ed. The Black Aesthetic. Garden City, NY: Anchor Books, 1972. Gendron, Bernard. “‘Moldy Figs’ and Modernists: Jazz at War (1942–1946).” In Jazz among the Discourses, 31–56. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. Geng, Veronica. “Poems,” in The Talk of the Town. The New Yorker (May28, 1979): 29–31. Gibson, Will. “Material Culture and Embodied Action: Sociological Notes on the Examination of Musical Instruments in Jazz Improvisation.” The Sociological Review (2006): 171– 187. Giddens, Gary, and Scott DeVeaux. Jazz. New York: W. W. Norton, 2009. Gilroy, Andrea, and Colin Lee, eds. Art and Music Therapy and Research. New York: Routledge, 1995. Gioia, Ted. The History of Jazz. New York: Oxford University Press, 1997. ———. The Imperfect Art: Reflections on Jazz and Modern Culture. New York: Oxford University Press, 1988. ———. West Coast Jazz: Modern Jazz in California 1945–1960. New York: Oxford University Press, 1992. Giddens, Gary. Dancing in Your Head: Jazz, Blues, Rock, and Beyond. New York: Oxford University Press, 1994. ———. Faces in the Crowd: Players and Writers. New York: Oxford University Press, 1992. ———. “Oxford and All That Jazz.” New York Times Book Review (October 26, 1997): 59. ———. Visions of Jazz: The First Century. New York: Oxford University Press, 1998. Gilmour, John C. “Improvisation in Cezanne’s Late Landscapes.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 191–204. Gitler, Ira. The Masters of Bebop: A Listener’s Guide. Updated and Expanded Edition. Foreword by Stanley Crouch. New York: Da Capo Press, 1966, 1983, 2001. Gladwell, Malcolm. Blink: The Power of Thinking without Thinking. New York: Little, Brown and Company, 2005. Godlovich, Stan. Musical Performance: A Philosophical Study. New York: Routledge, 1998. Goertzen, Valerie Woodring. “Setting the Stage: Clara Schumann’s Preludes.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 237–260. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Goldberg, Joe. Jazz Masters of the Fifties. Macmillan Jazz Masters Series. New York: Macmillan, 1965; reprint edition, New York: Da Capo, n.d. Goldson, Elizabeth, ed. Seeing Jazz: Artists and Writers on Jazz. New York: Chronicle Books, 1997. Gombrich, E.H. “Watching Artists at Work: Commitment and Improvisation in the History of Drawing.” In Topics of Our Time: Twentieth–Century Issues in Learning and in Art, 92–130. Berkeley: University of California Press, 1991. Gordon, Robert. Jazz West Coast: The Los Angeles Jazz Scene of the 1950s. London: Quartet Books, 1986. Gottlieb, Robert, ed. Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now. New York: Pantheon, 1996. 331 332 Gould, Carol S., and Kenneth Keaton. “The Essential Role of Improvisation in Musical Performance.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 143– 148. Gracyk, Theodore A. “Adorno, Jazz, and the Aesthetics of Popular Music.” The Musical Quarterly 76, no. 4 (Winter 1992): 526–542. ———. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke University Press, 1996. Green, Benny. The Reluctant Art: Five Studies in the Growth of Jazz. Expanded Edition. London: MacGibbon and Kee, 1962; reprint edition, New York: Da Capo, 1991. Greenbaum, Charles W. “Effect of Situational and Personality Variables on Improvisation and Attitude Change.” Journal of Personality and Social Psychology 4, no. 3 (1966): 260– 269. Greenblatt, Stephen. “The Improvisation of Power.” In Renaissance Self–Fashioning: From More to Shakespeare, 222–254. Chicago: University of Chicago Press, 1980. Greenwald, Anthony G., and Rosita Daskal Albert. “Acceptance and Recall of Improvised Arguments.” Journal of Personality and Social Psychology 8, no. 1 (1968): 31–34. Gross, Larry. “The Fragment Itself.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 149–157 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006. Guenther, Herbert. Ecstatic Spontaneity: Sahara’s Three Cycles of Doha. Nanzan Studies in Asian Religions Series. Berkeley, CA: Asian Humanities Press, 1993. Guillou, Jean. The Art of Improvisation, Dorian Recordings, DOR–90101, 1991. Gushee, Lawrence. “The Improvisation of Louis Armstrong.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 291–334. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Gysin, Brion. Back in No Time: The Brion Gysin Reader. Edited by Jason Weiss. Middletown, CT: Wesleyan University Press, 2001. Hagberg, Garry. “Foreword: Improvisation in the Arts.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 95–98. ———. “Jazz Improvisation.” In Encyclopedia of Aesthetics, Volume 2, 479–482. Edited by Michael Kelly. New York: Oxford University Press, 1998. ———. “On Rhythm.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 281–284. Hagendorn, Ivar. “Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa).” Leonardo 36, no. 3 (2003): 221–227. Hajdu, David. “Not Quite All That Jazz.” Review of Jazz by Ken Burns, Jazz: A History of America’s Music by Geoffrey C. Ward and Ken Burns, Collected Works: A Journal of Jazz 1954–2000 by Whitney Balliett. The New York Review of Books 48, no. 2 (February 8, 2001): 31–33. Hall, Edward T. “Improvisation as an Acquired, Multilevel Process.” Ethnomusicology 36, no. 2 (Spring/Summer 1992): 223–235. Hamel, Peter Michael. Through Music to the Self: How to Appreciate and Experience Music Anew. Translated by Peter Lemesurier. Dorset, UK: Element Books, 1976, 1978. Hamilton, Andy. “The Aesthetics of Imperfection,” Philosophy 65 (July 1990): 323–340. ———. “The Art of Improvisation and the Aesthetics of Imperfection.” The British Journal of Aesthetics 40, no. 1 (January 2000): 168–185. Hamilton, James R. “Musical Noise.” The British Journal of Aesthetics 39, no. 4 (October 1999): 350–363. Harris, Michael D. “Art Works.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 200–215. Edited by Howard S. Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblett. Chicago: University of Chicago Press, 2006. Harris, William J. “”’How You Sound??’: Amiri Baraka Writes Free Jazz.” In Uptown Conversation: The New Jazz Studies, 312–325. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004. Harris–Kelley, Deidra. “Revisitng Romare Bearden’s Art of Improvisation.” In Uptown Conversation: The New Jazz Studies, 249–255. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004. Hancock, Gerre. Improvising: How to Master the Art. Oxford Keyboard Methods Series. New York: Oxford University Press, 1994. Hartman, Charles O. Jazz Text: Voice and Improvisation in Poetry, Jazz, and Song. Princeton: Princeton University Press, 1991. 334 Harwood, Eve. “Go On, Girl! Improvisation in African–American Girls’ Singing Games.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 113–126. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Hausman, Carl R. “Some Further Suggestions on Novelty and Creation.” The Journal of Aesthetics and Art Criticism 35, no. 2 (Winter 1976): 222–225. Hebdige, Dick. “Even Unto Death: Improvisation, Edging, Enframement.” Critical Inquiry 27, no. 2 Winter 2001): 333–353. Heble, Ajay. Landing on the Wrong Note: Jazz, Dissonance and Critical Practice. New York: Routledge, 2000. Heffley, Mike. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven, CT: Yale University Press, 2005. Hein, Hilde. “Play as an Aesthetic Concept.” The Journal of Aesthetics and Art Criticism 27, no. 1 (Autumn 1968): 67–71. Henderson, David. “What the Drums Had to Say––And What We Wrote about Them.” In Creativity in Performance, Publications in Creativity Research Series, 67–93. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997. Hentoff, Nat, Albert J. McCarthy, eds. Jazz. New York: Holt, Rinehart and Winston, 1959; reprint edition, New York: Da Capo, 1975. Henzell, John. “Research and the Particular: Epistemology in Art and Psychotherapy.” In Art and Music Therapy and Research, 185–205. Edited by Andrea Gilroy and Colin Lee. 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