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Mixing the Immiscible: Improvisation within Fixed-Media Composition
9 references·0 citing·29 second hop
Mixing the Immiscible: Improvisation within Fixed-Media Composition (2012)Mixing the Immiscible: Improvisation with…Digital Natives, Digital Immigrants (2012)Digital Natives, Digital Immi…The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture (2007)The Memetics of Music: A Neo-…The producer as composer: shaping the sounds of popular music (2006)The producer as composer: sha…The Art of Recording and the Aesthetics of Perfection (2003)The Art of Recording and the …Conversing with Cage (2003)Conversing with CageDigital Natives, Digital Immigrants Part 1 (2001)Digital Natives, Digital Immi…The art of improvisation and the aesthetics of imperfection (2000)The art of improvisation and …Intersubjectivity Without Agreement (1996)Intersubjectivity Without Agr…Good vibrations : a history of record production (1996)Good vibrations : a history o…Digital game-based learning (2003)The ‘digital natives’ debate: A critical review of the evidence (2008)Digital Natives, Digital Immigrants (2013)Covid-19 pandemic and online learning: the challenges and opportunities (2020)Mind in Society: The Development of Higher Psychological Processes (1978)Institutional Ecology, `Translations' and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39 (1989)Organizational Learning: A Theory of Action Perspective (1997)Developing a Sociocritical Literacy in the Third Space (2008)Intersubjectivity: Towards a Dialogical Analysis (2009)Coming to Terms (2012)On the reproduction of the musical economy after the Internet (2005)The Musicology of Record Production (2007)Are We Not New Wave? (2011)Hybrid spaces and hyphenated musicians: secondary students' musical engagement in a songwriting and technology course (2012)Composing, songwriting, and producing: Informing popular music pedagogy (2013)The impact of technological advances on recording studio practices (2013)Improvisation in the Arts (2015)Why is Style Not in Fashion? Using the Concept of “Style” to Understand the Creative Industries (2018)The impact of musical improvisation on children’s creative thinking (2021)Glenn Gould, the Vanishing Performer and the Ambivalence of the Studio (2008)The Establishment of the Virtual Performance Space in Rock (2008)Hearing Silence: The Perception and Introspection of Absences1 (2009)Music, dance and the total art work: choreomusicology in theory and practice (2012)CHANCE AND CERTAINTY: JOHN CAGE'S POLITICS OF NATURE (2013)Digital Natives, Digital Immigrants Part 2: Do They Really Think Differently? (2001)Scratch (2009)Western classical music development: a statistical analysis of composers similarity, differentiation and evolution (2017)Why Did Memetics Fail? Comparative Case Study (2020)Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model (2021)
this work references cited by second hop

References

  • 2001Digital Natives, Digital Immigrants Part 111,096 cited
  • 2012Digital Natives, Digital Immigrants7,107 cited
  • 1996Intersubjectivity Without Agreement275 cited
  • 2003Conversing with Cage211 cited
  • 2006The producer as composer: shaping the sounds of popular music165 cited
  • 1996Good vibrations : a history of record production59 cited
  • 2000The art of improvisation and the aesthetics of imperfection53 cited
  • 2007The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture41 cited
  • 2003The Art of Recording and the Aesthetics of Perfection39 cited

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