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  1. Two Concepts of Groove: Musical Nuances, Rhythm, and Genre.Evan Malone - 2022 - Journal of Aesthetics and Art Criticism 80 (3):345-354.
    Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...)
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  2. About communication of collectively improvised music. Communication Theoretical and Intercultural Aspects.Martin A. M. Gansinger - 2020 - Editions universitaires européennes.
    The musical method of collective improvisation expresses a conception of the game whose democratic-emancipatory basic attitude suggests comparisons with the concept of the ideal speech situation formulated by Jürgen Habermas. This presumption is explained in more detail within the framework of an introductory approach to collective improvisation as a process of relationship characterized by interactivity and synchronicity. After a discussion of improvisational action in music with regard to theoretical, historical and psychological aspects, the various developmental stages of free or collective (...)
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  3. A propos de la communication de la musique improvisée collective. Aspects théoriques et interculturels de la communication.Martin A. M. Gansinger - 2020 - Editions universitaires europeennes.
    La méthode musicale d'improvisation collective exprime une conception du jeu dont l'attitude de base démocratique et émancipatrice suggère des comparaisons avec le concept de la situation idéale du discours formulé par Jürgen Habermas. Cette présomption est expliquée plus en détail dans le cadre d'une approche introductive de l'improvisation collective comme processus de relation caractérisé par l'interactivité et la synchronicité. Après une discussion sur l'action d'improvisation en musique sous ses aspects théoriques, historiques et psychologiques, les différents stades de développement de l'improvisation (...)
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  4. The Philosopher's Bass Drum: Adorno's Jazz and the Politics of Rhythm.Maya Kronfeld - 2019 - Radical Philosophy 2 (5):34-47.
    The philosophical significance of rhythm in the United States has been undermined from both sides of what Adorno and Horkheimer called the ‘dialectic of enlightenment’. When rhythm has not been falsely exalted, promising a fetishised, racialised ‘return’ to the body, it has been devalued through the tainted associations of rhythmic synchronisation with fascist regimes and the demand for compliance. In this article, I engage these issues as they inflect the politics of musical form. Adorno’s notorious critique of jazz – developed (...)
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  5. Group Flow.Tom Cochrane - 2017 - In Micheline Lesaffre, Pieter-Jan Maes & Marc Leman (eds.), The Routledge Companion of Embodied Music Interaction. London, UK: Routledge. pp. 133-140.
    In this chapter I analyse group flow: a state in which performers report intense interpersonal absorption with the music and each other. I compare group flow to individual flow, and argue that the same essential structure can be discerned. I argue that group flow does not justify an anti-representationalist enactivist interpretation. However, I claim that the cognitive task in which the music is produced is irreducibly collective.
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  6. Playin(g) Iterability and Iteratin(g) Play : Tradition and Innovation in Jazz Standards.Francesco Paradiso - 2017 - Epistrophy 2.
    This study draws a comparative framework between deconstructive reading of texts and jazz standards. It will be argued that both are defined by the constant play of tradition and innovation. On the one hand, the repetition of a set of rules and dominant understanding of texts/tunes that generates tradition. On the other hand, invention and improvisation that take on that tradition and generate innovation. The act of reading/playing becomes also an act of invention/improvisation that manifests a constant tension between the (...)
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  7. Kind of Borrowed, Kind of Blue.P. D. Magnus - 2016 - Journal of Aesthetics and Art Criticism 74 (2):179-185.
    In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.
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  8. All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.
    I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...)
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  9. 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.
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  10. Repetition and Self-Realization in Jazz Improvisation.John M. Carvalho - 2010 - Journal of Aesthetics and Art Criticism 68 (3):285-290.
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  11. Rhetorical experience and the National Jazz Museum in Harlem.Gregory Clark - 2010 - In Greg Dickinson, Carole Blair & Brian L. Ott (eds.), Places of Public Memory: The Rhetoric of Museums and Memorials. University of Alabama Press.
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  12. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  13. Sonicism and Jazz Improvisation.Gary Iseminger - 2010 - Journal of Aesthetics and Art Criticism 68 (3):297-299.
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  14. Democracy as Music, Music as Democracy.Clifton Sanders - 2009 - Radical Philosophy Review 12 (1-2):219-239.
    In this paper we argue that there are valuable consonances between democratic theory and music theory, and between democratization and musical performance and enjoyment. We suggest that this connection is not as trite as it may first appear, but that, since democracy is learned and practiced in a myriad ofways, music is one such place to learn democratic citizenship. The paper begins with a normative account of democratic theory that is present in two movements. The first, “foundations,” explicates the essential (...)
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  15. Stealing licks : recording and identity in jazz.Bruce Ellis Benson - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
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  16. Art from start to finish: Jazz, painting, writing, and other improvisations edited by Becker, Howard S., Robert R. Faulkner, and Barbara kirshenblatt-gimblett.Lee B. Brown - 2008 - Journal of Aesthetics and Art Criticism 66 (2):205–208.
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  17. Expression and Extended Cognition.Tom Cochrane - 2008 - Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
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  18. Jazz improvisation and ethical interaction : a sketch of the connections.Garry L. Hagberg - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Oxford, UK: Blackwell. pp. 259–285.
    This chapter contains sections titled: Attentiveness Awareness of the Circumstances of Action Acknowledging the Autonomy of Others Respecting Complexity Memory Respecting Individuality Rethinking the Past The Habit of Resourcefulness Kantian Mutual Respect Genuineness and Insight Sensitivity to the Context of Discourse Excessive Attentiveness The Diversity of Intentional Action.
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  19. Works, recordings, performances : classical, rock, jazz.Andrew Kania - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
    In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...)
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  20. The contradictions of jazz.Paul E. Rinzler - 2008 - Lanham, Md.: 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.
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  21. Acting on impulse! : recordings and the reification of jazz.Tony Whyton - 2008 - In Mine Doğantan (ed.), Recorded Music: Philosophical and Critical Reflections. Middlesex University Press.
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  22. Artworld metaphysics.Robert Kraut - 2007 - New York: Oxford University Press.
    Artworld Metaphysics turns a critical eye upon aspects of the artworld, and articulates some of the problems, principles, and norms implicit in the actual practices of artistic creation, interpretation, evaluation, and commodification. Aesthetic theory is treated as descriptive and explanatory, rather than normative: a theory that relates to artworld realities as a semantic theory relates to the fragments of natural language it seeks to describe. Robert Kraut examines emotional expression, correct interpretation and objectivity in the context of artworld practice, the (...)
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  23. Frankfurt school blues : Rethinking Adorno's critique of jazz.James Buhler - 2006 - In Berthold Hoeckner (ed.), Apparitions: New Perspectives on Adorno and Twentieth Century Music. Routledge.
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  24. Apparitions: new perspectives on Adorno and twentieth century music.Berthold Hoeckner (ed.) - 2006 - New York: Routledge.
    Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter World War II, examine Adorno's struggle (...)
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  25. Why does jazz matter to aesthetic theory?Robert Kraut - 2005 - Journal of Aesthetics and Art Criticism 63 (1):3–15.
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  26. Theodor W. Adorno.Gerard Delanty (ed.) - 2004 - Thousand Oaks, Calif.: SAGE.
    Theodor W.Adorno was one of the towering intellectuals of the twentieth century. His contributions cover such a myriad of fields, including the sociology of culture, social theory, the philosophy of music, ethics, art and aesthetics, film, ideology, the critique of modernity and musical composition, that it is difficult to assimilate the sheer range and profundity of his achievement. His celebrated friendship with Walter Benjamin has produced some of the most moving and insightful correspondence on the origins and objects of the (...)
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  27. Does Kenny G play bad jazz? : A case study.Christopher Washburne - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge. pp. 123.
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  28. Bad music: the music we love to hate.Christopher Washburne & Maiken Derno (eds.) - 2004 - New York: Routledge.
    Why are some popular musical forms and performers universally reviled by critics and ignored by scholars-despite enjoying large-scale popularity? How has the notion of what makes "good" or "bad" music changed over the years-and what does this tell us about the writers who have assigned these tags to different musical genres? Many composers that are today part of the classical "canon" were greeted initially by bad reviews. Similarly, jazz, country, and pop musics were all once rejected as "bad" by the (...)
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  29. The Improvisation of Musical Dialogue: A Phenomenology of Music.Bruce Ellis Benson - 2003 - New York: Cambridge University Press.
    This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich (...)
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  30. Aesthetics of Surrender: Levinas and the Disruption of Agency in Moral Education.Ann Chinnery - 2003 - Studies in Philosophy and Education 22 (1):5-17.
    Education has long been charged with the taskof forming and shaping subjectivity andidentity. However, the prevailing view ofeducation as a project of producing rationalautonomous subjects has been challenged bypostmodern and poststructuralist critiques ofsubstantial subjectivity. In a similar vein,Emmanuel Levinas inverts the traditionalconception of subjectivity, claiming that weare constituted as subjects only in respondingto the other. In other words, subjectivity isderivative of an existentially priorresponsibility to and for the other. Hisconception of ethical responsibility is thusalso a radical departure from the prevailingview (...)
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  31. Ralph Ellison: Pragmatism, Jazz and the American Vernacular.Michael Magee - 2003 - Transactions of the Charles S. Peirce Society 39 (2):227 - 258.
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  32. Jazz: America's Classical Music?Lee B. Brown - 2002 - Philosophy and Literature 26 (1):157-172.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...)
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  33. 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 phenomenology of improvisation, (...)
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  34. Jazz After Jazz : Ken Burns and the Construction of Jazz History.Theodore Gracyk - 2002 - Philosophy and Literature 26 (1):173-187.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 173-187 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz After Jazz: Ken Burns and the Construction of Jazz History Theodore Gracyk As all action is by its nature to be figured as extended in breadth and in depth, as well as in length; and so spreads abroad on all hands... so all narrative is, by its nature, of only one dimension; only (...)
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  35. On Representing Jazz: An Art Form in Need of Understanding.Garry Hagberg - 2002 - Philosophy and Literature 26 (1):188-198.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 188-198 [Access article in PDF] Symposium: On Ken Burns's "Jazz" On Representing Jazz: An Art Form in Need of Understanding Garry L. Hagberg ALTHOUGH IT WENT ON in smaller numbers in earlier decades, the fact that there were legions of expatriate jazz musicians fleeing to a far more appreciative Europe in the 1960s and 1970s shows how important a cultural event Ken Burns's documentary (...)
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  36. Postmodern music/postmodern thought.Judith Irene Lochhead & Joseph Henry Auner (eds.) - 2002 - London: Routledge.
    What is postmodern music and how does it differ from earlier styles, including modernist music? What roles have electronic technologies and sound production played in defining postmodern music? Has postmodern music blurred the lines between high and popular music? Addressing these and other questions, this ground-breaking collection gathers together for the first time essays on postmodernism and music written primarily by musicologists, covering a wide range of musical styles including concert music, jazz, film music, and popular music. Topics include: the (...)
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  37. Ecological Humanism: A Moral Image for Our Emotive Culture.Steven Fesmire - 2001 - The Humanist 61 (1):27-30.
    Anglo-Americans tend to see themselves as isolated individuals who recognize that their self-interest requires them to cooperate and thus submit to moral rules or moral authorities as long as others agree to do the same. But this picture fails to acknowledge a deeper interconnectedness to the persons and places we live with, and so it fails to sustain an understanding of why our social and natural ecology is important to our flourishing. Fesmire advocates that we cultivate metaphors that more accurately (...)
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  38. “Feeling My Way”: Jazz Improvisation and Its Vicissitudes—A Plea for Imperfection.Lee B. Brown - 2000 - Journal of Aesthetics and Art Criticism 58 (2):113-123.
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  39. 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 the particular (...)
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  40. Nietzsche, Democracy, and Excellence: Politics as Jazz.Lawrence J. Hatab - 2000 - International Studies in Philosophy 32 (3):39-50.
  41. 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 critical theory. Adorno's arguments are (...)
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  42. The metaphysics of jazz.James O. Young & Carl Matheson - 2000 - Journal of Aesthetics and Art Criticism 58 (2):125-133.
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  43. Postmodernist jazz theory: Afrocentrism, old and new.Lee B. Brown - 1999 - Journal of Aesthetics and Art Criticism 57 (2):235-246.
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  44. Adorno on jazz and society.Joseph D. Lewandowski - 1996 - Philosophy and Social Criticism 22 (5):103-121.
    In this essay I offer a philosophical-political reconstruction of Theodor Adorno's engagements with jazz. Rather than consider whether or not Adorno got jazz 'right', I give an account of how and why Adorno develops the criticisms that he does. I argue that in Adorno's analysis of jazz three interpenetrating claims emerge: (1) a rejection of jazz's sense of improvisation and spontaneity; (2) a demonstration of jazz's entwinement with the modern technologiza tion of everyday life; and (3) a critique of jazz's (...)
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  45. The theory of jazz music "it don't mean a thing...".Lee B. Brown - 1991 - Journal of Aesthetics and Art Criticism 49 (2):115-127.
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  46. Habits of the Head.Stephen Frederick Schneck - 1989 - Political Theory 17 (4):638-662.
    Nothing conceivable is so petty, so insipid, so crowded with paltry interestsin one word, so anti-poeticas the life of a man in the United States. [Tocqueville];1Anyone who allows the growing respectability of mass culture to seduce him into equating a popular song with modem art because of a few false notes squeaked by a clarinet; anyone who mistakes a triad studded with "dirty notes" for atonality, has already capitulated to barbarism. Art which has degenerated to culture pays the price of (...)
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  47. On musical improvisation.Philip Alperson - 1984 - Journal of Aesthetics and Art Criticism 43 (1):17-29.
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  48. Toward a Sociology of Jazz.Neil P. Hurley - 1969 - Thought: Fordham University Quarterly 44 (2):219-246.
    A lively and scholarly analysis of the history of jazz in its long voyage from a New Orleans barrel-house type of enterprise to global acceptance.
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