- Accompanist (role)
- Ad libitum
- Agenda
- Aleatoricism
- Aspect
- Balance
- Bartle types
- BCG
- (Cognitive) flow
- Conductor (role)
- Constellation
- Constructor (role)
- Co-optionality
- Cue cards
- Dice
- Dimension
- Downbeat
- Downtime
- Elegant Game
- Emergence
- End Condition
- Event (musical event)
- Extended technique
- Facilitator
- Fighting
- Flow
- Found sound
- Gameplay flow
- Genre
- Heteronomous Music
- Horizon of intent
- Improvisation rite
- Insert game
- Inspire cards
- Instrument Preparation
- Judge (role)
- Karaoke
- King-making
- Learning curve
- Ludomusical dissonance
- Meaningful Choice
- Mechanic
- Music game
- Non-idiomatic music
- Notation Cards
- Open work
- Parameter
- Pervasive Game
- Player (role)
- Prompter (role)
- Psychographics
- Quarterbacking
- Rhythm cards
- Rhythm game
- Roles
- RPG
- Rule Cards
- Speedrun
- Stacking
- Trading
- Transition
- Upgrade
- Victory condition
- Xenochrony
- XP
- Yes, and...
This glossary entry is a draft. You can help by editing it or discussing in the comments
Method of improvising when you accept everything that is played and do something with it.
Usage
In improvisational theatre, Yes, and… method of advancing the scene is often encouraged as a general mind-set. Obviously, you don't need to follow a Yes, and… principle blindly, getting a bit contrarian or stepping back has its charms, even if novice players do it way too much.
In music, you also may choose to allow for juxtapositions and strong contrast, but if you want to join for coherence, Yes, and… is a call to adjust to others (not to bully them into your own music) but at the same time to be constructive with the material (not to leave partners with all the hard work and responsibility). It's worth noting that in the context of music Yes-anding works better the less people are in play.
Jeffrey Agrell's compendium includes Yes, And as a game of its own with just a broad description of the concept, albeit stressing more the "support" rather than "development" (Agrell 2008, 121).
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