id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
currentmusicology-6886	Ford, Mike	Fischlin, Daniel and Eric Porter (eds). 2020. Playing for Keeps: Improvisation in the Aftermath. Durham: Duke University Press. 	2021	9	.pdf	application/pdf	3799	115	34	Stephanie Vos’s chapter is a tour de force using a film, The Exhibition of Vandalizim (2010), as the starting point; and through elegant argument, she theorizes improvisation through ritual, community, and politics to arrive at the conclusion that musical improvisation reflects non-musical improvisation and 215 the negation of basic recognition of humanity that often necessitates it. The editors Daniel Fischlin and Eric Porter lay the foundation for the collection in the volume’s introduction, emphasizing several points rehearsed above, including the transferability of the tenets of musical improvisation to non-musical domains, the situatedness of improvisatory response, and the potential utility of improvisation during and following crises: “in the aftermath of chaos and trauma, improvisatory modes of being provide generative alternatives based on risk taking and nonconformity rooted in cocreative connections” (2).	cache/currentmusicology-6886.pdf	txt/currentmusicology-6886.txt