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dc.contributor.authorMazur, Rafał
dc.date.accessioned2014-11-24T08:01:49Z
dc.date.available2014-11-24T08:01:49Z
dc.date.issued2014-11
dc.identifier.citationMazur R., In search of praxeology of 'improvised art', The Daoist art, International Journal of Humanities Social Sciences and Education Volume 1, Issue 11, November 2014. PP 236-242pl_PL
dc.identifier.issn2349-0373
dc.identifier.issn2349-0381
dc.identifier.urihttps://depot.ceon.pl/handle/123456789/5840
dc.description.abstractThe following essay is dedicated to free improvisation in music, and specifically to the search for tools to effectively carry out this activity. It concerns music, not in the sense of sound phenomena, but in the sense of creative practice, the method of its creation. That is why we can speak of a praxeology of free improvisation in music. In the case of 'improvised music/art', praxeology is unusually relevant due to the fact that the work/product of this art is not only an artifact coming into existence as the result of a creative process, but it itself is a process. The main thesis I would like to present can be formulated as follows: 'free improvisation in music (and in art generally) is an activity qualitatively different than the artistic practices previously used in Europe. Thus, it demands the finding/development/application of different tools/strategies of acting to generate musical pieces/works of art.' I will try to defend a thesis showing the ontological difference between works of art created in the traditional way for European culture and those works of art which are improvisational. Then, I will show that this difference in ontological status entails the use of different strategies to carry out these works. In the next step, I will indicate the direction in which I intend to go, in search of the aforementioned strategies. For clarity, I will now address a few terminological issues connected with the subject at hand. Henceforth, when I write about tools serving work with music, I have in mind any strategy of acting that can be of service to the playing of musical pieces, that is, in the case of European culture, the reading of sheet music, interpretation, preparation, and presentation. When I write about the 'Daoist Turn' I have in mind the possibility of adapting Daoist strategies of action to the act of free improvisation in music, strategies developed by Daoist philosophers concerning art and human activity in general. It is worth stressing that the specificity of Chinese culture makes a sharp division between different types of philosophies or methods of various schools. The Chinese see the world through a pair of complementary opposites, so the Daoist strategy of behavior was repeatedly adapted by Confucian circles, which resulted in the development of the so-called 'free expression' movement in art.pl_PL
dc.language.isoenpl_PL
dc.publisherAcademicians' Research Centerpl_PL
dc.rightsCreative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska
dc.rights.urihttp://creativecommons.org/licenses/by-sa/3.0/pl/legalcode
dc.subjectChinese philosophypl_PL
dc.subjectChinese strategy of actionpl_PL
dc.subjectphilosophy of improvisationpl_PL
dc.subjectphilosophy of creationpl_PL
dc.subjectpraxeologypl_PL
dc.subjecttranscultural aestheticspl_PL
dc.subjectphilosophy of artpl_PL
dc.subjectaestheticspl_PL
dc.subjectdaoismpl_PL
dc.subjectfree expressionpl_PL
dc.subjectimprovised musicpl_PL
dc.subjectimprovised artpl_PL
dc.titleIn Search of Praxeology of 'Improvised Art'. The Daoist Turnpl_PL
dc.typeinfo:eu-repo/semantics/articlepl_PL
dc.contributor.organizationUniwersytet Jagiellońskipl_PL
dc.contributor.organizationJagiellonian Universitypl_PL
dc.description.epersonRafał Mazur
dc.rights.DELETETHISFIELDinfo:eu-repo/semantics/openAccess


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Creative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska
Except where otherwise noted, this item's license is described as Creative Commons Uznanie autorstwa na tych samych warunkach 3.0 Polska