| 000 | 03948namaa2200709uu 4500 | ||
|---|---|---|---|
| 001 | doab131883 | ||
| 003 | oapen | ||
| 005 | 20260218110444.0 | ||
| 006 | m o d | ||
| 007 | cr|mn|---annan | ||
| 008 | 231208s2024 xx |||||o ||| 0|eng d | ||
| 020 | _a9780472055739 | ||
| 020 | _a9780472075737 | ||
| 020 | _ampub.11969438 | ||
| 024 | 7 |
_a10.3998/mpub.11969438 _2doi |
|
| 040 |
_aoapen _coapen _d |
||
| 041 | 0 | _aeng | |
| 042 | _adc | ||
| 720 | 1 |
_aCiufo, Thomas _4edt |
|
| 245 | 0 | 0 |
_aImprovising Across Abilities _bPauline Oliveros and the Adaptive Use Musical Instrument |
| 260 |
_bUniversity of Michigan Press _c2024 |
||
| 300 | _a1 online resource (405 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 490 | 1 | _aMusic and Social Justice | |
| 506 | 0 |
_fUnrestricted online access _2star |
|
| 520 | _aImprovising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932-2016), the AUMI was designed as a liberating and affordable alternative to the constraints of instruments created only for normative bodies, thus opening a doorway for people of all ages, genders, abilities, races, and socioeconomic backgrounds to access artistic practice with others. More than a book about AUMI, this book is an invitation to readers to use AUMI in their own communities. This book, which contains wisdom from many who have been affected by their work with the instrument and the people who use it, is a representation of how music and extemporized performance have touched the lives and minds of scholars and families alike. Not only has AUMI provided the opportunity to grow in listening to others who may speak differently (or not at all), but it has been used as an avenue for a diverse set of people to build friendships with others whom they may have never otherwise even glanced at in the street. By providing a space for every person who comes across AUMI to perform, listen, improvise, and collaborate, the continuing development of this instrument contributes to a world in which every person is heard, welcomed, and celebrated. | ||
| 540 |
_aCreative Commons _fhttps://creativecommons.org/licenses/by-nc/4.0/ _2cc _uhttps://creativecommons.org/licenses/by-nc/4.0/ |
||
| 546 | _aEnglish | ||
| 650 | 7 |
_aDisability: social aspects _2bicssc |
|
| 650 | 7 |
_aMusic _2bicssc |
|
| 650 | 7 |
_aTheory of music and musicology _2bicssc |
|
| 720 | 1 |
_aCiufo, Thomas _4oth |
|
| 720 | 1 |
_aDvorak, Abbey L. _4edt |
|
| 720 | 1 |
_aDvorak, Abbey L. _4oth |
|
| 720 | 1 |
_aHaaheim, Kip _4edt |
|
| 720 | 1 |
_aHaaheim, Kip _4oth |
|
| 720 | 1 |
_aHurst, Jennifer _4edt |
|
| 720 | 1 |
_aHurst, Jennifer _4oth |
|
| 720 | 1 |
_aLeu, Grace Shih-en _4edt |
|
| 720 | 1 |
_aLeu, Grace Shih-en _4oth |
|
| 720 | 1 |
_aMiller, Leaf _4edt |
|
| 720 | 1 |
_aMiller, Leaf _4oth |
|
| 720 | 1 |
_aMizumura-Pence, Ray _4edt |
|
| 720 | 1 |
_aMizumura-Pence, Ray _4oth |
|
| 720 | 1 |
_aOddy, Nicola _4edt |
|
| 720 | 1 |
_aOddy, Nicola _4oth |
|
| 720 | 1 |
_aStewart, Jesse _4edt |
|
| 720 | 1 |
_aStewart, Jesse _4oth |
|
| 720 | 1 |
_aSullivan, John _4edt |
|
| 720 | 1 |
_aSullivan, John _4oth |
|
| 720 | 1 |
_aTucker, Sherrie _4edt |
|
| 720 | 1 |
_aTucker, Sherrie _4oth |
|
| 720 | 1 |
_aWaterman, Ellen _4edt |
|
| 720 | 1 |
_aWaterman, Ellen _4oth |
|
| 720 | 1 |
_aWilks, Ranita _4edt |
|
| 720 | 1 |
_aWilks, Ranita _4oth |
|
| 793 | 0 | _aDOAB Library. | |
| 856 |
_uhttps://docs.google.com/spreadsheets/d/1yKIrdCPDAG_9c22mwoOIO2DOhtj65Wqa/edit?usp=sharing&ouid=106555315294820607512&rtpof=true&sd=true _yList of Curated E-Books |
||
| 942 | _cE-BOOK | ||
| 999 |
_c81274 _d81273 |
||