Doctor of Philosophy, The Ohio State University, 2019, Comparative Studies
From the behavioral and cognitive sciences to the interdisciplinary field of critical improvisation studies, scholars and artists have increasingly focused on the creative potentials of improvisation not just as an artistic practice, but also as a force in all spheres of human behavior. In this field, while many scholars have attested to the connection between musical improvisation and everyday life, the quality of that connection has not been rigorously studied. This dissertation examines that connection in earnest by asking: what are the differences between musical and social improvisation? It also argues that a thorough investigation of this relationship might reorient our thinking about the aesthetics and politics of improvisation itself. In exploring these questions, I argue that the link between music and everyday life centers on the notion of contingency—that in both musical and social situations, improvisation is coextensive with a contingent encounter between subjects, objects, and multiple environments.
I pursue this argument in three parts. In the first section, I develop a multidisciplinary comparative methodology centered on the notion of “contingency”. This approach helps me to conceive improvisation as a total socio-cultural phenomenon, rather than a musical skill. In the second section, I then deploy this framework through three musical case studies: one track each from Eric Dolphy, John Cage, and Norwegian free improvisers Mr. K. In this section, I trace the historical, cultural, and musical specificities of each example, arguing that each improvisation is radically incommensurate with the others. Subsequently, I compare my conclusions on musical improvisation with improvisation's appearance in the space of everyday life. In this last section, I take up Michel de Certeau's everyday practices and Sara Ahmed's queer phenomenology, locating the fundamental indeterminacy and constitutive contingencies at the heart of both everyday practices (such as (open full item for complete abstract)
Committee: Barry Shank (Advisor); Philip Armstrong (Advisor); Ryan Skinner (Committee Member); Eugene Holland (Committee Member)
Subjects: Aesthetics; American Studies; Music; Performing Arts