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Jazz and the Philosophy of Art

Jazz and the Philosophy of Art
Author: Lee B. Brown
Publisher: Routledge
Total Pages: 302
Release: 2018-01-31
Genre: Music
ISBN: 1315280590

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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 to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book’s commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.


Jazz As Critique

Jazz As Critique
Author: Fumi Okiji
Publisher: Stanford University Press
Total Pages: 208
Release: 2018-09-04
Genre: Music
ISBN: 1503605868

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This “lucidly argued, historically grounded . . . and timely book” reexamines the relationship between black cultures, jazz music, and critical theory (Alexander G. Weheliye, Northwestern University). A sustained engagement with the work of Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. While Adorno's writings on jazz are notoriously dismissive, he has faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a new path, Okiji calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, she makes the case for jazz as a model of “gathering in difference.” Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.


The Oxford Handbook of Western Music and Philosophy

The Oxford Handbook of Western Music and Philosophy
Author: Tomás McAuley
Publisher: Oxford University Press
Total Pages: 992
Release: 2020-12-04
Genre: Music
ISBN: 0199367329

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Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.


Philosophy of Jazz

Philosophy of Jazz
Author: Daniel Martin Feige
Publisher:
Total Pages: 0
Release: 2024-08-15
Genre: Music
ISBN: 9781666959505

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Philosophy of Jazz discusses the philosophical relevance of jazz, showing that jazz and European art music have more in common than many assume.


Future Jazz

Future Jazz
Author: Howard Mandel
Publisher: Oxford University Press, USA
Total Pages: 264
Release: 1999
Genre: Music
ISBN:

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In a series of vividly drawn portraits and in-depth interviews with musicians, composers, and others in the genre, this book takes an exciting look at the contemporary jazz scene and provides an invaluable road map to the music of tomorrow.


African American Jazz and Rap

African American Jazz and Rap
Author: James L. Conyers, Jr.
Publisher: McFarland
Total Pages: 264
Release: 2015-11-03
Genre: Social Science
ISBN: 0786462388

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Music is an expressive voice of a culture, often more so than literature. While jazz and rap are musical genres popular among people of numerous racial and social backgrounds, they are truly important historically for their representation of and impact upon African American culture and traditions. Essays offer interdisciplinary study of jazz and rap as they relate to black culture in America. The essays are grouped under sections. One examines an Afrocentric approach to understanding jazz and rap; another, the history, culture, performers, instruments, and political role of jazz and rap. There are sections on the expressions of jazz in dance and literature; rap music as art, social commentary, and commodity; and the future. Each essay offers insight and thoughtful discourse on these popular musical styles and their roles within the black community and in American culture as a whole. References are included for each essay.


Jazz and Justice

Jazz and Justice
Author: Gerald Horne
Publisher: Monthly Review Press
Total Pages: 456
Release: 2019-06-18
Genre: Music
ISBN: 1583677860

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A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call “jazz” arose in late nineteenth century North America—most likely in New Orleans—based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US—and Black American—contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era’s most virulent economic—and racist—exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.


The Philosophy of Improvisation

The Philosophy of Improvisation
Author: Gary Peters
Publisher: University of Chicago Press
Total Pages: 199
Release: 2009-08-01
Genre: Philosophy
ISBN: 0226662802

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Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, The Philosophy of Improvisation ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, The Philosophy of Improvisation will be welcomed by anyone striving to comprehend the creative process.


The Shadow and the Act

The Shadow and the Act
Author: Walton M. Muyumba
Publisher: University of Chicago Press
Total Pages: 230
Release: 2009-08-01
Genre: Social Science
ISBN: 0226554252

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Though often thought of as rivals, Ralph Ellison, James Baldwin, and Amiri Baraka shared a range of interests, especially a passion for music. Jazz, in particular, was a decisive influence on their thinking, and, as The Shadow and the Act reveals, they drew on their insights into the creative process of improvisation to analyze race and politics in the civil rights era. In this inspired study, Walton M. Muyumba situates them as a jazz trio, demonstrating how Ellison, Baraka, and Baldwin’s individual works form a series of calls and responses with each other. Muyumba connects their writings on jazz to the philosophical tradition of pragmatism, particularly its support for more freedom for individuals and more democratic societies. He examines the way they responded to and elaborated on that lineage, showing how they significantly broadened it by addressing the African American experience, especially its aesthetics. Ultimately, Muyumba contends, the trio enacted pragmatist principles by effectively communicating the social and political benefits of African Americans fully entering society, thereby compelling America to move closer to its democratic ideals.


Jazz Among the Discourses

Jazz Among the Discourses
Author: Krin Gabbard
Publisher: Duke University Press
Total Pages: 308
Release: 1995
Genre: Music
ISBN: 9780822315964

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Employing modes of criticism and theory that have transformed study in the humanities, this title addresses questions seldom if ever raised in jazz writing: What are the implications of building jazz history around the medium of the phonograph record? Why did jazz writers first make the claim that jazz is an art?