Results for 'Jazz'

291 found
Order:
See also
Bibliography: Jazz in Aesthetics
  1.  25
    Jazz and Musical Works: Hypnotized by the Wrong Model.John Andrew Fisher - 2018 - Journal of Aesthetics and Art Criticism 76 (2):151-162.
    It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  2.  19
    Jazz and Philosophical Contrapunteo: Philosophies of La Vida in the Americas on Behalf of Radical Democracy.Gregory Fernando Pappas - 2021 - The Pluralist 16 (1):1-25.
    the saap 2020 conference in mexico is the culmination of an internal and gradual transformation in SAAP that has taken many years. I came to this organization as a graduate student. I was then the only Latino and Leonard Harris the only African American philosopher in SAAP. Thanks to the efforts of many scholars and presidents, SAAP has come to recognize the important philosophical contributions of female, African American, Indigenous, and Latinx philosophers. Let's not take for granted how we got (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  3. Jazz Bands, Camping Trips and Decommodification: G. A. Cohen on Community.N. Vrousalis - 2012 - Socialist Studies 8 (1):141-163.
  4.  9
    Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory.Mattias Solli, Erling Aksdal & John Pål Inderberg - 2021 - Journal of Aesthetic Education 55 (4):82-122.
    Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  5. Jazz and the Philosophy of Art.Lee B. Brown & David Goldblatt - 2018 - Routledge.
    Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  6.  4
    Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory.Mattias Solli, Erling Aksdal & John Pål Inderberg - 2022 - Journal of Aesthetic Education 56 (1):94-123.
    Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  7.  21
    The Jazz Solo as Virtuous Act.Stefan Caris Love - 2016 - Journal of Aesthetics and Art Criticism 74 (1):61-74.
    This article presents a new aesthetic of the improvised jazz solo, an aesthetic grounded in the premise that a solo is an act indivisible from the actor and the context. The solo's context includes the local and large-scale conventions of jazz performance as well as the soloist's other work. The theme on which a solo is based serves not as a “work,” but as part of the solo's stylistic context. Knowledge of this context inheres directly into proper apprehension (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  8.  22
    Jazz Improvisers' Shared Understanding: A Case Study.Michael F. Schober & Neta Spiro - 2014 - Frontiers in Psychology 5.
  9.  2
    Jazz-Philosophy Fusion.James Tartaglia - 2016 - Performance Philosophy 2 (1):99-114.
    In this paper I describe and provide a justification for the fusion of jazz music and philosophy which I have developed; the justification is provided from the perspectives of both jazz and philosophy. I discuss two of my compositions, based on philosophical ideas presented by Schopenhauer and Derek Parfit respectively; links to sound files are provided. The justification emerging from this discussion is that philosophy produces ‘non-argumentative effects’ which provide suitable material for artistic expression and exploration. These effects (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  10. Jazz Improvisation and Ethical Interaction : A Sketch of the Connections.Garry L. Hagberg - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
    Export citation  
     
    Bookmark   4 citations  
  11. Jazz is the Sound of God Laughing.Colleen Shaddox - 2006 - In Jay Allison, Dan Gediman, John Gregory & Viki Merrick (eds.), This I Believe: The Personal Philosophies of Remarkable Men and Women. H. Holt.
     
    Export citation  
     
    Bookmark  
  12. Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  13.  86
    Jazz Redux: A Reply to Möller.Laura Schroeter & François Schroeter - 2014 - Philosophical Studies 170 (2):303-316.
    This paper is a response to Niklas Möller’s (Philosophical Studies, 2013) recent criticism of our relational (Jazz) model of meaning of thin evaluative terms. Möller’s criticism rests on a confusion about the role of coordinating intentions in Jazz. This paper clarifies what’s distinctive and controversial about the Jazz proposal and explains why Jazz, unlike traditional accounts of meaning, is not committed to analycities.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  14.  20
    Jazz, the Wound: Negative Identity, Culture, and the Problem of Weak Subjectivity in Theodor Adorno’s Twentieth Century.Eric Oberle - 2016 - Modern Intellectual History 13 (2):357-386.
    This essay addresses the emergence of theories of “identity” in twentieth-century politics, aesthetics, and philosophy by considering Theodor Adorno's understanding of “negative identity” as a form of coercive categorization that nevertheless contains social knowledge. A historical account of the Frankfurt school's relation to questions of race, anti-Semitism, and the idea of culture, the essay analyzes Adorno's infamous jazz articles in light of the transatlantic history of Marxian political theory and its understanding of racism, subject–object relations, and models of cultural (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  15. Jazz: A People's Music.Sidney Finkelstein & Charles T. Smith - 1949 - Science and Society 13 (2):186-191.
     
    Export citation  
     
    Bookmark   1 citation  
  16.  34
    Über Jazz.Hektor Rottweiler - 1936 - Zeitschrift für Sozialforschung 5 (2):235-59.
    The social function of jazz in its theoretical aspects is the subject of the present article. The author opens his discussion with a technical analysis of jazz music, on the basis of which the social significance of jazz phenomena is elucidated.The peculiar effects of jazz music are by no means limited to the upper layers of society ; they permeate the whole of society. The music has a pseudo-democratic quality, characteristic of the monopolistic phase of capitalism. (...) music is usually trite, and its orginality, however limited, manifests itself chiefly in the variations of forms in which it is reproduced*The realm of jazz ranges from „salon music“ to the military march* The former expresses a false individualism ; the latter a false collectivism. The Jazz represents a sort of conduit between these two poles, particularly in its form of „hot music“. A theory of jazz will have to dwell especially on this ambivalence. Its meaning is explained by an analogy to eccentric clowns whose inability to obey the norm of regular movement reveals itself finally as a superiority over these rules, which allows the eccentric to play with them. Thus the idea of jazz is to prove that divergence from the norm is observed as a rule throughout the total structure.The pattern of this breaking and observing of the rule at the same time is the syncope. The mechanism of its function is interpreted as a kind of unconscious and paradoxical unity of fear and fulfillment, through obedience and reward by society. The antagonistic character of jazz is expressed by the formula that the „subject of jazz“ permits itself to be annihilated by society in order to feel itself endorsed and vindicated by society.L'article présente certains éléments d'une théorie sociale du Jazz* Il utilise en particulier l'analyse technique, dont les résultats sont interprétés comme expression psychologique de réalités sociales. Le Jazz est défini „phénomène d'interférence“ entre une liberté d'improvisation du sujet, liberté tout apparente, et l'instance sociale à laquelle le sujet est soumis et qui est représenté dans la musique par le rythme et le son fondamentaux rigidement maintenus. Le Jazz lui-même n'est pas irrationnel ou archaïque, il est donné comme tel, il est „fuite du monde des marchandises dans le monde des marchandises“ ; ses traits archaïques sont en tant que tels modernes, c'est-à-dire des régressions psychologiques. C'est pourquoi, précisément en tant que marchandise, il doit se donner à la fois pour ancien et nouveau, original et banal.A l'origine, le produit est banal, originales sont, dans des limites très étroites, les transformations de celui-ci par la reproduction. Mais l'apparente liberté de la reproduction est démasquée par la démonstration qu'elle ne touche pas à la „substance“ banale. Même la rationalisation, en apparence progressive, du processus du travail entre production et reproduction ne correspond pas à la réalité. Particulièrement importante, sur ce point,, est la signification de l'amateur comme représentant du public. Au pôle opposé on trouve la musique d'art d'hier, dépravée et dépouillée de ses éléments progressifs : celle de l'impressionnisme.L'extension du Jazz est limitée par les pôles extrêmes de la musique de salon d'une part, et de la marche d'autre part, celle-là expression d'une illusoire subjectivité, celle-ci expression d'une instance sociale inhumaine. Entre ces extrêmes la „Hot Musique“ prend une position intermédiaire paradoxale et elle s’est stabilisée aujourd’hui en „Jazz classique“. C’est celui-ci que doit considérer en premier lieu la théorie du Jazz. Celle-ci est rapprochée de la figure de 1’ „excentrique“ : de même que l’incapacité de celui-ci d’obéir aux lois du mouvement s’affirme comme un jeu supérieur, ainsi l’idée du Jazz est de démontrer la rupture de la norme — la syncope — à travers toute la structure comme l’achèvement de la norme même. Le mécanisme qui agit dans ce cas, comme dans celui des „steeps“ ralentis est de nature érotique : unité d’angoisse, de tentative d’évasion, et d’assouvissement par le fait de trouver dans la société à la fois place et récompense. (shrink)
    No categories
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  17.  6
    Civic Jazz by Gregory Clark.Maurice Charland - 2017 - Philosophy and Rhetoric 50 (1):119-125.
    Civic Jazz asks us to expand our understanding of what it means to say that jazz is an American art form. While Clark is clearly a fan, with an intimate knowledge of jazz, its culture, and community, this book offers more than anecdote and description, which is so common in jazz studies. Rather, this well-crafted book extends and offers a theoretical basis to the idea, put forward by Wynton Marsalis, Albert Murray, Ralph Ellison, and most recently (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  18.  5
    Danse, jazz et technique chez Siegfried Kracauer.Pascal Michon - forthcoming - Rhuthmos.
    Ce texte est un extrait de P. Michon, Rythmes, pouvoir, mondialisation, Paris, PUF, 2005, p. 199-206. De 1921 à 1933, Siegfried Kracauer, un ancien élève de Simmel, était journaliste à la Frankfurter Zeitung, où il s'est rapidement imposé comme l'un des observateurs les plus aigus de son époque. On connaît le contexte : à l'instar de la Russie, l'Allemagne est sortie totalement bouleversée de la guerre perdue ; la monarchie s'y est écroulée et une tentative de révolution communiste y a (...)
    No categories
    Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  19.  32
    Jazz Improvisation : A Mimetic Art ?Garry Hagberg - 2006 - Revue Internationale de Philosophie 4:469-485.
    Direct download (5 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   2 citations  
  20. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and (...)
    Direct download (8 more)  
     
    Export citation  
     
    Bookmark   10 citations  
  21. Jazz, Modernism, and Murals in New Deal New York.Jody Patterson - 2011 - In Charlotte De Mille (ed.), Music and Modernism, C. 1849-1950. Cambridge Scholars Press.
     
    Export citation  
     
    Bookmark  
  22.  7
    Enacting a Jazz Beat: Temporality in Sonic Environment and Symbolic Communication.Mattias Solli & Thomas Netland - 2021 - British Journal of Aesthetics 61 (4):485-504.
    What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  23.  49
    Jazz Vocal Interpretation: A Philosophical Analysis.Jerrold Levinson - 2013 - Journal of Aesthetics and Art Criticism 71 (1):35-43.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  24.  11
    Jazz at the Crossroads.Ronald Pearsall - 1963 - New Blackfriars 44 (515):224-227.
    Direct download  
     
    Export citation  
     
    Bookmark  
  25.  8
    Jurus, Jazz Riffs and the Constitution of a National Martial Art in Indonesia.Lee Wilson - 2009 - Body and Society 15 (3):93-119.
    Pencak Silat is a martial art, performance practice and system of body cultivation prevalent throughout much of Indonesia and the Malay-speaking world. This article compares different modalities of the practice and pedagogy of Sundanese Pencak Silat in West Java with more recent attempts to standardize practice at a national level under the auspices of the Indonesian Pencak Silat Association. Drawing on David Sudnow’s seminal account of learning how to play jazz piano, it is suggested that learning how to improvise (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  26.  49
    Adorno, Jazz and Racism: "Uber Jazz" and the 1934-7 British Jazz Debate.E. Wilcock - 1996 - Télos 1996 (107):63-80.
  27.  11
    Jazz as Critique: Adorno and Black Expression Revisited.James B. Haile - forthcoming - Journal of Aesthetics and Art Criticism.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  28.  58
    Jazz After Jazz : Ken Burns and the Construction of Jazz History.Theodore Gracyk - 2002 - Philosophy and Literature 26 (1):173-187.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  29.  4
    Contentious Tactics as Jazz Performances: A Pragmatist Approach to the Study of Repertoire Change.Tomás Gold - forthcoming - Sociological Theory:073527512211106.
    The metaphor of “repertoire” is increasingly used in the study of contention to convey the fact that people act collectively through a limited set of cultural routines. Yet despite its broad adoption, the term is loosely defined and rarely subject to empirical verification. This has led to unfruitful scholarly disputes, with most perspectives assuming that change in repertoires is independent from how actors perform them. Drawing a parallel between the dynamics of repertoire performance and jazz improvisation, I propose a (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  30. “K Enny G's Playing is Lame Ass, Jive, Pseudo Bluesy, Out-of-Tune.Does Kenny G. Play Bad Jazz - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
    No categories
     
    Export citation  
     
    Bookmark  
  31.  9
    American Jazz Music. [REVIEW]T. W. Adorno & Eunice Cooper - 1941 - Zeitschrift für Sozialforschung 9 (1):167-178.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  32.  7
    Philosophy, Jazz, Hate and Love.James Tartaglia - 2020 - The Philosophers' Magazine 88:29-35.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  33.  1
    The Contradictions of Jazz.Paul E. Rinzler - 2008 - Scarecrow Press.
    The Contradictions of Jazz examines four pairs of opposites in jazz-freedom and responsibility, creativity and tradition, individualism and interconnectedness, and assertion and openness-and explores their position and presence in jazz to create a humanistic and existential view of the genre.
    Direct download  
     
    Export citation  
     
    Bookmark  
  34. Il jazz e la coscienza artificiale.Antonio Chella & Riccardo Manzotti - 2011 - Discipline Filosofiche 21 (1).
    No categories
    Translate
     
     
    Export citation  
     
    Bookmark  
  35. The Metaphysics of Jazz.James O. Young & Carl Matheson - 2000 - Journal of Aesthetics and Art Criticism 58 (2):125-133.
    Direct download (7 more)  
     
    Export citation  
     
    Bookmark   14 citations  
  36.  27
    Jazz as Metaphor, Philosophy as Jazz.Vincent Colapietro - 2012 - In Cornelis De Waal & Krzysztof Piotr Skowroński (eds.), The Normative Thought of Charles S. Peirce. Fordham University Press. pp. 1.
    Direct download  
     
    Export citation  
     
    Bookmark  
  37. Improvisation: Jazz Improvisation.Garry Hagberg - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 1--479.
     
    Export citation  
     
    Bookmark   1 citation  
  38. Jazz Literature and the African American Aesthetic.George L. Starks Jr - 1993 - In Kariamu Welsh-Asante (ed.), The African Aesthetic: Keeper of the Traditions. Greenwood Press.
  39.  7
    Jazz Education as Aesthetic Education.David J. Elliott - 1986 - Journal of Aesthetic Education 20 (1):41.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  40. The Jazz Singer's Reception in the Media and at the Box Office.Donald Crafton - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 460--481.
    No categories
     
    Export citation  
     
    Bookmark  
  41.  31
    Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.Mari Tervaniemi, Lauri Janhunen, Stefanie Kruck, Vesa Putkinen & Minna Huotilainen - 2015 - Frontiers in Psychology 6.
  42.  10
    A Semiotic Framework Kelly A. Parker.Normative Judgment In Jazz - 2012 - In Cornelis De Waal & Krzysztof Piotr Skowroński (eds.), The Normative Thought of Charles S. Peirce. Fordham University Press.
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  43.  3
    Du jazz à l'église?William Edgar - 1998 - Pierre D'Angle 4:151-165.
    No categories
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  44.  68
    Jazz: America's Classical Music?Lee B. Brown - 2002 - Philosophy and Literature 26 (1):157-172.
  45. Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz".Cynthia R. Nielsen - 2016 - Journal of Applied Hermeneutics (1).
    Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  46.  15
    Cool Jazz But Not So Hot Literary Text inLawyerland: James Boyd White's Improvisations of Law as Literature.Gary Minda - 2001 - Cardozo Studies in Law and Literature 13 (1):157-191.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  47.  61
    The Spur of the Moment: What Jazz Improvisation Tells Cognitive Science.Steve Torrance & Frank Schumann - 2019 - AI and Society 34 (2):251-268.
    Improvisation is ubiquitous in life. It deserves, we suggest, to occupy a more central role in cognitive science. In the current paper, we take the case of jazz improvisation as a rich model domain from which to explore the nature of improvisation and expertise more generally. We explore the activity of the jazz improviser against the theoretical backdrop of Dreyfus’s account of expertise as well as of enactivist and 4E accounts of cognition and action. We argue that enactivist (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   8 citations  
  48.  94
    Why Does Jazz Matter to Aesthetic Theory?Robert Kraut - 2005 - Journal of Aesthetics and Art Criticism 63 (1):3–15.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  49. Why Did Adorno "Hate" Jazz?Robert W. Witkin - 2000 - Sociological Theory 18 (1):145-170.
    Adrono's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  50.  14
    “Assessing Without Levels”: Preliminary Research on Assessment Literacy in One Primary School.Jazz C. Williams - 2015 - Educational Studies 41 (3):341-346.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
1 — 50 / 291