Thinking in Jazz¶
Berliner, P. F. (1994). Thinking in Jazz: The Infinite Art of Improvisation. University of Chicago Press.
Cited by¶
2 citations across 2 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Improvisation
- Improvisation is the structural pattern in which an actor generates performance in real time, within constraints, in response to evolving context, rather than executing a pre-fixed plan.
This sourceDefinitive ethnomusicological study of jazz improvisation as real-time generation from a deeply internalized vocabulary of patterns against a harmonic backbone, in response to the ensemble.
Supported in partVerified against the work's full text
Publisher's description backs jazz improvisation as real-time 'composing in the moment' with ensemble interplay, not a domain-general definition with constraints or a pre-fixed-plan contrast.
“describes the delicate interplay of soloist and ensemble in collective improvisation”
- Improvisation is the structural pattern in which an actor generates performance in real time, within constraints, in response to evolving context, rather than executing a pre-fixed plan.
Domain-specific¶
- Musical Form
- A standard like "I Got Rhythm" furnishes "rhythm changes" — a 32-bar AABA form
This sourceEthnographic study of jazz improvisation establishing that a shared, unrehearsed sectional template makes collective real-time improvisation possible, and treating rhythm changes - the 32-bar AABA form derived from Gershwin's I Got Rhythm - and the 12-bar blues as the standard vehicles.
- A standard like "I Got Rhythm" furnishes "rhythm changes" — a 32-bar AABA form
Verification¶
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