Improvisation in Iranian and Indian music

@inproceedings{Nooshin2005ImprovisationII,
  title={Improvisation in Iranian and Indian music},
  author={Laudan Nooshin and Richard Widdess},
  year={2005}
}
By “improvisation”, a term now much debated within Western musicology and ethnomusicology, we refer to those aspects of a musical performance that are generated by the performer. Even the performance of a pre-composed musical work, fully notated by the composer, will usually include elements that are not pre-determined, such as nuances, ornamentation or variations added by the performer in the course of performance, and today most musicologists recognize such elements as “improvisation… CONTINUE READING

References

Publications referenced by this paper.
Showing 1-10 of 16 references

Improvisation as ‘Other’: Creativity, knowledge and power – the case of Iranian classical music

Nooshin, Laudan
Journal of the Royal Musical Association • 2003

India, subcontinent of

Powers, H.S
Sadie S., ed., The New Grove Dicitionary of Music and Musicians, • 2001

Hindustani tala

J. R. Kippen
The Garland Encylcopaedia of World Music, • 2000
View 1 Excerpt

Karnatak raga

G. R. Kassebaum
The Garland Encylcopaedia of World Music, • 2000
View 1 Excerpt

Keeping it going: terms, practices, and processes of improvisation in Hindustån¥ instrumental music

S. Slawek
1998
View 1 Excerpt

Thinking in Jazz: the infinite art of improvisation, U

P. Berliner
1994

The imaginary museum of musical works: an essay in the philosophy of music

L. Goehr
1992
View 2 Excerpts

The Dagar gharana (with special reference to Ustad Nasir Aminuddin Dagar): a case study of performing artists

N. Owens
in Wade, B.C., ed., • 1983
View 1 Excerpt

Hindustani music in the 20th century, Hague:Nijhoff

W. Van der Meer
1980
View 2 Excerpts

On becoming an ustad: six life sketches in the evolution of a gharana

B. Silver
1976
View 2 Excerpts