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Performing EthnomusicologyTeaching and Representation in World Music Ensembles$
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Ted Solis

Print publication date: 2004

Print ISBN-13: 9780520238749

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520238749.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 23 July 2021

“When Can We Improvise?”

“When Can We Improvise?”

The Place of Creativity in Academic World Music Performance

Chapter:
(p.261) Chapter 15 “When Can We Improvise?”
Source:
Performing Ethnomusicology
Author(s):

David W. Hughes

Publisher:
University of California Press
DOI:10.1525/california/9780520238749.003.0016

This chapter focuses on the place of creativity in the academic world of music performance. It discusses the music department at SOAS (the School of Oriental and African Studies, University of London), various genres that they have introduced, and the improvisation that can be brought to enhance the artistic beauty of these genres. It later highlights the author's experience of wrestling with issues of creativity for improvisation, and provides some general comments on improvisational freedom. It also illustrates various examples of the teacher's approaches in specific music and raises certain questions on composition and creativity, highlighting the fact that during the 1990s, there was no precedent within SOAS to justify teaching or even examine composition. So whether at SOAS or elsewhere, there were no formal frameworks to allow our students to compose for academic credit and evaluation.

Keywords:   SOAS, University of London, improvisation, composition, improvisational freedom, academic credit, world music performance

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