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  1. Suspending the Habit Body Through Immersive Resonance:Hesitation and Constitutive Duet in Jen Reimer and Max Stein’s Site-Specific Improvisation.Rachel Elliott - 2018 - Critical Studies in Improvisation/ Études Critiques En Improvisation 12 (2):1 - 11.
    There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. (...)
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  2. Philosophy of Music (Encyclopedia Entry).Cynthia R. Nielsen - 2013 - In Robert L. Fastiggi, Joseph W. Koterski, Trevor Lipscombe, Victor Salas & Brendan Sweetman (eds.), New Catholic Encyclopedia: Supplement 2012-2013: Ethics and Philosophy. Detroit, MI, USA: Gale. pp. 1031–1036.
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  3. A Case for Song: Against an (Exclusively) Recording-Centered Ontology of Rock.Franklin Bruno - 2013 - Journal of Aesthetics and Art Criticism 71 (1):65-74.
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  4. Jazz Among the DiscoursesRepresenting Jazz.Lee B. Brown & Krin Gabbard - 1997 - Journal of Aesthetics and Art Criticism 55 (3):325.
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  5. Adorno's Critique of Popular Culture: The Case of Jazz Music.Lee B. Brown - 1992 - Journal of Aesthetic Education 26 (1):17.
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  6. Rock ‘N’ Labels: Tracking the Australian Recording Industry in ‘The Vinyl Age’: Part Two: 1970–1995, and After.Clinton J. Walker, Trevor Hogan & Peter Beilharz - 2012 - Thesis Eleven 110 (1):112-131.
    Over the past 50 years, rock music has been the prime mover of an emergent national recording industry in Australia. This is a story in turn of increasing size, complexity, diversity, and sophistication, before its ultimate decline into the 21st century. This story has not been told in full previously and this article is a first step to make good this gap in the historical and cultural sociology of popular music. In this study, which has two parts, we survey record (...)
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  7. The Model of Counterpoint Improvisation and the Methods of Improvisation in Popular Music.Adam Fulara - 2013 - Avant: Trends in Interdisciplinary Studies 4 (1):417-545.
    The article consists of two parts. The first, more general, contains a description of the phenomena associated with improvisation, especially guitar, detailing the execution issues facing the improviser. Two points of view are presented: the first, more detailed, describes the elements of music and its importance in the process of improvisation, the second - more general - speaks of phenomena which cannot be described or analyzed in a simple way, or that are different for each track. These include the interaction (...)
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  8. Mixing Genres and Reaching the Public: The Production of Popular Music.Jean-Pierre Vignolle - 1980 - Social Science Information 19 (1):79-105.
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  9. Heavy Metal: Genre? Style? Subculture?Theodore Gracyk - 2016 - Philosophy Compass 11 (12):775-785.
    Although popular music is increasingly recognized as an important area of inquiry in philosophy of art, many organizing principles have been taken over from other fields without scrutiny. This article selects heavy metal as an example of the value of applying philosophy of criticism to discourse about popular music. Metal is now in its fifth decade, and its combination of longevity and diversity have made it an attractive topic in popular music studies. In accounts of metal by musicologists and social (...)
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  10. Ibn Al-Jazzār on Medicine for the Poor and DestituteIbn Al-Jazzar on Medicine for the Poor and Destitute.Gerrit Bos - 1998 - Journal of the American Oriental Society 118 (3):365.
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  11. Jazz at the Crossroads.Ronald Pearsall - 1963 - New Blackfriars 44 (515):224-227.
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  12. A Behavioristic Interpretation of Jazz.J. B. Eggen - 1926 - Psychological Review 33 (5):407-409.
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  13. Feige, Daniel Martin. Philosophie des Jazz. Berlin: Suhrkamp Verlag, 2014, 142 Pp., €14,00. [REVIEW]J. Tyler Friedman - 2016 - Journal of Aesthetics and Art Criticism 74 (1):108-110.
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  14. 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 of the (...)
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  15. Yet Again, ‘Between Absolute and Programme Music’.Gregory Karl & Jenefer Robinson - 2015 - British Journal of Aesthetics 55 (1):19-37.
    In this paper, we contest Peter Kivy’s claim that there is a clear opposition between ‘absolute music’ and programme music and between musical form and musical expressiveness. We argue, on the contrary, that much music falls somewhere between absolute and programme music as Kivy conceives the categories, and that such music is often primarily organized not on purely formal principles but by means of the overall ‘expressive trajectory’ or ‘poetic idea’ of the piece. Kivy is dismissive of all ‘narrativist’ interpretations (...)
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  16. The Sex Revolts Gender, Rebellion and Rock'n'roll.Simon Reynolds & Joy Press - 1995
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  17. Getting It Together Relational Learning in a Jazz-Performance Context.Christina Susan Grant - 2003
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  18. Sudden Music Improvisation, Sound, Nature.David Rothenberg - 2002
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  19. La Imagen Sonora Notas Para Una Lectura Filos'ofica de la Nueva M'usica Popular.Santiago Auserâon - 1998
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  20. New Orleans Jazz, Mahalia Jackson and the Philosophy of Art.H. R. Rookmaaker & Marleen Hengelaar-Rookmaaker - 2002
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  21. Hear and Now Gedanken Zur Improvisierten Musik.Peter Niklas Wilson - 1999
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  22. Metal, Rock, and Jazz Perception and the Phenomenology of Musical Experience.Harris M. Berger - 1999
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  23. Dangerous Crossroads Popular Music, Postmodernism and the Poetics of Place.George Lipsitz - 1994
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  24. Disruptive Divas Feminism, Identity & Popular Music.Lori Burns & Mélisse Lafrance - 2002
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  25. Le Tumulte Noir Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900-1930.Jody Blake - 1992
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  26. Authenticity in Rock Music Culture.Mark Mazullo - 1999
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  27. Zu Einer Ästhetik des Jazz.Stephan Richter - 1995
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  28. Women and Popular Music Sexuality, Identity, and Subjectivity.Sheila Whiteley - 2000
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  29. Concepts of Time and Space in Selected Works of Jazz Improvisation and Painting.Henry Q. Rinne - 1991 - Dissertation, Ohio University
    This study concerns the application of the paradigm of self-organization science as an informing principle in the realm of artistic creation. In his book Entropy and Art, Rudolf Arnheim presents two cosmological theories and their applicability to art theory. The self-organization paradigm of Ilya Prigogine provides a reconciliation of the two theories, establishing a model of an open, nonlinear system, exchanging matter and energy and fluctuating between periods of order and chaos. Because of the immediacy and accessibility of the creative (...)
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  30. Jazz: A People's Music.Sidney Finkelstein & Charles T. Smith - 1949 - Science and Society 13 (2):186-191.
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  31. Hard Bop: Jazz and Black Music, 1955-1965.David H. Rosenthal - 1994 - Science and Society 58 (2):228-231.
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  32. On Popular Music.T. W. Adorno - 1941 - Studies in Philosophy and Social Science 9:17.
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  33. Henri Matisse's Jazz: Regarding the Date of "Completion"of the Original Maquettes.Kyoko Okubo - 2005 - Bigaku 55 (4):42-55.
    The date of "completion" of the original maquettes of Jazz has been considered to be 1944, mainly due to three letters of Matisse, in spite of the date, juillet 1946, written in the maquettes. What is the meaning of this delay? The connection between Matisse and Surréalisme contributed in establishing the artistic environment around him from the 1930's. It changed Matisse's artistic view from static to dynamic, especially the concept of signe. Furthermore, the method of paper cut-out accelerated this tendency. (...)
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  34. I. Aspects of Time in the Music of Henryk Gorecki: The Sacred and the Profane. Ii. Concerto for Double Bass.David F. Kopplin - 1999 - Dissertation, University of California, Los Angeles
    Volume I of this dissertation concerns the work of Polish composer Henryk Gorecki. He began his career as a serial composer and by the time of the premiere of his Scontri in 1961, was considered to be one of the best and brightest of the new generation of "modernist" composers. In the early 1970s, however, he turned away from the serialist techniques and modernist model toward a completely new approach---a distinct new compositional direction. Music writers and musicologists have since grouped (...)
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  35. The Legacy of Genius: Improvisation, Romantic Imagination, and the Western Musical Canon.Angeles Sancho-Velazquez - 2001 - Dissertation, University of California, Los Angeles
    This dissertation addresses the question of the decline of improvisation in Western classical music, investigating both its disappearance from performance practice and the scholarly neglect of this phenomenon in music histories and theories. Music historians have traditionally situated the disappearance of improvisation at the end of the Baroque, but improvisation continued to be an important part of Western classical music until well into the nineteenth century. The failure to account for its importance in the Classical and Romantic periods raises questions (...)
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  36. Levels of Reality in Dramatic Music.Alicyn Warren - 1992 - Dissertation, Princeton University
    The exploration of sound's character as a demonstrative representational medium--as when sounds represent other sounds--is the common activity linking the successive chapters of this dissertation. An account emphasizing sound's unusual representational flexibility, which has particular resonance within twentieth-century technologies of sound recording and processing, is developed over the course of six chapters. The opening chapters rely on contemporary aesthetics , and deal with fundamental attributes of sound, and with the affects of those attributes on sonic representation. A comparison of the (...)
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  37. A Critique of Musicology.John A. Kimmey - 1984 - Dissertation, The Florida State University
    This is an historical and critical study of the discipline of musicology. The study is divided into two major sections: a retrospective of musicology, and a critique of musicology. The retrospective is an historical-chronological survey of selected writers on music beginning with the ancient Greeks and ending at the close of the 19th century. The writings of these musicologists are scrutinized for content, methodology and continuity of ideas and concepts. ;The critical part of the study is in the Kantian mode (...)
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  38. From Dadaism to Free Jazz: The Cultural Developments of a New Aesthetic.Trevor E. Hudson - unknown
    What does it mean for something to be called “avant-garde”? The ambiguity of such a label fails to define the works of which it is typically applied. It’s more relevant to think of the term as an on-going process that explores new artistic possibilities. This thesis will look at some factors that helped propel such a process into motion and the shared aesthetics that came as a result. An avant-garde process began in the early 20th century as individuals and groups (...)
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  39. Performing Rites on the Value of Popular Music.Simon Frith - 1996 - Harvard University Press.
    An influential writer on popular music asks what we talk about when we talk about music. Instead of dismissing emotional response and personal taste as inaccessible to academic critics, Frith takes these forms of engagement as his subject—and discloses their place at the center of the aesthetics that structure our culture and color our lives.
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  40. The Imperfect Art: Louis Armstrong and Furniture Music; 2 Jazz and the Primitivist Myth; 3 the Imperfect Art; 4 Neoclassicism in Jazz; 5 What has Jazz to Do with Aesthetics?; 6 Boredom and Jazz; 7 Jazz as Song; Notes; About the Author; Index; a; B; C; D; E; F; G; H; I; J; K; L; M; N; o; P; R; s; T; U; V; W; y; Credits.Ted Gioia - 1988 - Oxford University Press on Demand.
    Relates the work of jazz artists such as Louis Armstrong, Bix Beiderbecke, Lester Young, Duke Ellington, Charlie Parker, John Coltrane and Ornette Coleman to primitivism in the arts, neoclassicism, good and bad taste, improvization and recordings, and aesthetics in general.
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  41. The Poetry and Poetics of Amiri Baraka the Jazz Aesthetic.William J. Harris & Amin Baraka - 1985 - University of Missouri Press.
    In this study of Baraka's transformation of white avant-grade poetics into a unique black poetics, Harris argues that Baraka's work can be best understood in the context of a jazz aesthetic. Baraka, he says, has taken white avant-garde and postmodernist poetic modes and political ideas, and through a formal and social process of transformation typical of jazz revision, transformed them into a black poetics and metaphysics. Harris describes the failure of the postmodernists to provide suitable aesthetic and social solutions for (...)
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  42. Schlager Im Kreuzverhör Schlager Als Spiegel des Zeitgeistes Und Die Analyse Ihrer Texte von Ute Klein Ùnd Gerd H. Goeman.Ute Klein & Goeman Gerd Hesse - 1968 - Dipa-Verlag.
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  43. Sound, Speech, and Music.David Burrows & David L. Burrows - 1990
    In this examination of the relation of thought to sound, David Burrows offers the thesis that sound has played a liberating role in human evolution.
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  44. Tri-Axium Writings.Anthony Braxton - 1985 - Synthesis Music.
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  45. Jammin' at the Margins: Jazz and the American Cinema.Krin Gabbard - 2000 - Journal of Aesthetics and Art Criticism 58 (1):74-76.
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  46. Rhythm and Noise: An Aesthetics of Rock.John Fisher - 1999 - Journal of Aesthetics and Art Criticism 57 (4):467-469.
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  47. Die Improvisation in Beispielen Aus Neun Jahrhunderten Abendländischer Musik.Ernest T. Ferrand - 1958 - Journal of Aesthetics and Art Criticism 17 (1):122-123.
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  48. Judging Covers.P. Magnus Cristyn Magnus - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    ABSTRACTCover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
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  49. Art From Start to Finish: Jazz, Painting, Writing, and Other Improvisations.Howard S. Becker, Robert R. Faulkner & Barbara Kirshenblatt-Gimblett - 2008 - Journal of Aesthetics and Art Criticism 66 (2):205-208.
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  50. The Poetics of Rock: Cutting Tracks, Making Records.Albin J. Zak - 2004 - Journal of Aesthetics and Art Criticism 62 (1):73-74.
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