Improvised Music after 1950: Afrological and Eurological Perspectives

2017/01/01 by George Lewis · 1 citation
Arts and Humanities · #Music History and Culture #Musicology and Musical Analysis #Diverse Music Education Insights

paper · doi:10.5040/9781501318399.ch-046

openalex publication_date 2017/01/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/22

Abstract

From Black Music Research Journal 16 (1996). Slightly modified and used by permission of the author.Trombonist, composer, improviser, and computer/installation artist George Lewis studied composition with Muhal Richard Abrams at the AACM (Association for the Advancement of Creative Musicians) School

Cited by

• Anthony Braxton [wikipedia]

Related

• GUIDED SYNCRETISM: REPACKAGING BADAGRY-OGU MUSIC IN THE CONTEXT OF LAGOS’ POSTCOLONIAL MODERNITY
• 6. Nicholas G. J. Ballanta
• Aebersold’s Mediated Play-A-Long Pedagogy and the Invention of the Beginning Jazz Improvisation Student
• The Tios of New Orleans and Their Pedagogical Influence on the Early Jazz Clarinet Style
• Middle-class Music Making? Social Class, “Race,” and their Intersections in the Practice of School Popular Music