{"@context":{"owl":"http://www.w3.org/2002/07/owl#","bibo":"http://purl.org/ontology/bibo/","foaf":"http://xmlns.com/foaf/0.1/","rdfs":"http://www.w3.org/2000/01/rdf-schema#","prism":"http://prismstandard.org/namespaces/basic/2.0/","cinii":"http://ci.nii.ac.jp/ns/1.0/","dc":"http://purl.org/dc/elements/1.1/","dcterms":"http://purl.org/dc/terms/"},"@id":"https://ci.nii.ac.jp/ncid/BC00735898.json","@graph":[{"@id":"https://ci.nii.ac.jp/ncid/BC00735898#entity","@type":"bibo:Book","foaf:isPrimaryTopicOf":{"@id":"https://ci.nii.ac.jp/ncid/BC00735898.json"},"dc:title":[{"@value":"The aesthetics of imperfection in music and the arts : spontaneity, flaws and the unfinished"}],"dc:creator":"edited by Andy Hamilton and Lara Pearson","dc:publisher":[{"@value":"Bloomsbury Academic"}],"dcterms:extent":"xv, 399 p.","cinii:size":"24 cm","dc:language":"eng","dc:date":"2021","cinii:ncid":"BC00735898","cinii:ownerCount":"2","foaf:maker":[{"@id":"https://ci.nii.ac.jp/author/DA1945954X#entity","@type":"foaf:Person","foaf:name":[{"@value":"Hamilton, Andy"}]},{"@type":"foaf:Person","foaf:name":[{"@value":"Pearson, Lara"}]}],"bibo:owner":[{"@id":"https://ci.nii.ac.jp/library/FA006383","@type":"foaf:Organization","foaf:name":"日本大学 芸術学部図書館 (江古田)","rdfs:seeAlso":{"@id":"https://artlib.nihon-u.ac.jp/opac/opac_openurl/?ncid=BC00735898"}},{"@id":"https://ci.nii.ac.jp/library/FA007965","@type":"foaf:Organization","foaf:name":"関西大学 図書館","rdfs:seeAlso":{"@id":"https://www.lib.kansai-u.ac.jp/webopac/ufirdi.do?ufi_target=ctlsrh&ncid=BC00735898"}}],"bibo:lccn":["2020023027"],"rdfs:seeAlso":[{"@id":"https://lccn.loc.gov/2020023027"}],"prism:publicationDate":["2021"],"cinii:note":["Includes bibliographical references and index","Summary: \"The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. ...\""],"dc:subject":["LCC:ML3877","DC23:781.3/6","DC23:781.17"],"foaf:topic":[{"@id":"https://ci.nii.ac.jp/books/search?q=Music+--+Performance+--+Philosophy+and+aesthetics","dc:title":"Music -- Performance -- Philosophy and aesthetics"},{"@id":"https://ci.nii.ac.jp/books/search?q=Improvisation+%28Music%29+--+Philosophy","dc:title":"Improvisation (Music) -- Philosophy"},{"@id":"https://ci.nii.ac.jp/books/search?q=Creation+%28Literary%2C+artistic%2C+etc.%29","dc:title":"Creation (Literary, artistic, etc.)"},{"@id":"https://ci.nii.ac.jp/books/search?q=Imperfection","dc:title":"Imperfection"},{"@id":"https://ci.nii.ac.jp/books/search?q=Improvisation+%28Music%29","dc:title":"Improvisation (Music)"}],"dcterms:hasPart":[{"@id":"urn:isbn:9781350106055","dc:title":": hb"}]}]}