Results for 'jazz improvisation'

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  1.  19
    Jazz Improvisers' Shared Understanding: A Case Study.Michael F. Schober & Neta Spiro - 2014 - Frontiers in Psychology 5.
  2. Jazz Improvisation and Ethical Interaction : A Sketch of the Connections.Garry L. Hagberg - 2008 - In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell.
     
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  3. 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 (...)
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  4.  53
    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 (...)
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  5.  31
    Jazz Improvisation : A Mimetic Art ?Garry Hagberg - 2006 - Revue Internationale de Philosophie 4:469-485.
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  6. Improvisation: Jazz Improvisation.Garry Hagberg - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press. pp. 1--479.
     
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  7. “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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  8.  49
    Sonicism and Jazz Improvisation.Gary Iseminger - 2010 - Journal of Aesthetics and Art Criticism 68 (3):297-299.
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  9.  8
    Four Approaches to Jazz Improvisation Instruction.David Schroeder - forthcoming - Philosophy of Music Education Review 10 (1):36-40.
  10.  17
    Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology.Ingrid Monson - 1994 - Critical Inquiry 20 (2):283-313.
  11.  76
    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 (...)
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  12.  66
    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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  13.  30
    The Fundamental Heteronomy of Jazz Improvisation.Bruce Ellis Benson - 2006 - Revue Internationale de Philosophie 4:453-467.
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  14.  27
    Retroactive Temporality. The Logic of Jazz Improvisation Read Through Žižek’s Hegel.Feige Daniel Martin - 2017 - International Journal of Žižek Studies 11 (3).
    The paper offers a reconstruction of the logics of jazz improvisation that is drawing on Žižek’s Work on Hegel. A basic concept of Žižek’s reading of Hegel consists in the concept of Retroactivity as the temporality that is characteristic of what Hegel understands as the development of history. The logic of retroactivity cannot be understood in terms of a classical teleological account but rather draws upon the idea of incommensurable events: Each historical situation is presupposing its own preconditions (...)
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  15.  34
    Cultivating an Aesthetic of Unfolding: Jazz Improvisation as a Self-Organizing System.Frank J. Barrett - 2000 - In Stephen Linstead & Heather Höpfl (eds.), The Aesthetics of Organization. Sage Publications. pp. 228--45.
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  16.  1
    The Chord That Dies When it’s Born. Alterity and Ethics on Body without Organs in Jazz Improvisation.José Manuel Romero Tenorio, Davide Riccardi & Carolina Buitrago Echeverry - 2020 - Eidos: Revista de Filosofía de la Universidad Del Norte 32:335-358.
    RESUMEN Nos adentramos en esos procesos de subjetivación en los que el músico de jazz experimenta en sí otras formas de corporalidad, que se dirimen entre sujeción a esquemas y ruptura de los corsés por una teatralidad en escena. Aparentemente, en la improvisación prima lo subversivo y la reificación del músico como autor libre; sin embargo, observamos empíricamente una corporalidad plural que trasciende el espacio de la escena y que facilita que todos los actores intervengan en el proceso de (...)
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  17.  57
    All That Jazz: Linguistic Competence and Improvisation.Niklas Möller - 2014 - Philosophical Studies 167 (2):237-250.
    Recently, theorists have pointed to the role of improvisation in practical reasoning and in gaining new moral knowledge. Laura and François Schroeter have gone even further by suggesting an account of competence with evaluative terms based on holistic improvisation. I argue, however, that they fail in their task. Through a challenge of their key claim against Allan Gibbard’s alternative account, I demonstrate that Schroeter and Schroeter provide only partial constraints on competence, and thus that their account lacks the (...)
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  18.  11
    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.
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  19.  22
    Improvisation as Liberation: Endeavours of Resistance in Free Jazz.Thomas Kocherhans - 2012 - Cuadernos de Filosofía Latinoamericana 33 (106):39-52.
    This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical (...)
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  20. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation (...)
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  21.  8
    Jazzing Philosophy with Children. An Improvising Way for a New Pedagogy.Santi Marina - 2017 - Childhood and Philosophy 13 (28).
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  22.  75
    The Improvisation of Musical Dialogue: A Phenomenology of Music.Bruce Ellis Benson - 2003 - 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 (...)
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  23.  30
    Improvisation: The Astonishing Bridge to Our Inner Music.Mauro Maldonato - 2018 - World Futures 74 (3):158-174.
    Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” or “reproductive” tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between (...)
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  24.  19
    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 (...)
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  25.  67
    Improvisation, Creativity, and Formulaic Language.Ian Mackenzie - 2000 - Journal of Aesthetics and Art Criticism 58 (2):173-179.
    Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the (...)
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  26.  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 (...)
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  27. 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 (...)
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  28.  28
    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)
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  29.  25
    Improvisation and Meditation in the Academy: Parallel Ordeals, Insights, and Openings.Edward Sarath - 2015 - Journal of Philosophy of Education 49 (2):311-327.
    This article examines parallel challenges and avenues for progress I have observed in my efforts to introduce improvisation in classical music studies, and meditation in music and overall academic settings. Though both processes were once central in their respective knowledge traditions—improvisation in earlier eras of European classical music, meditation and contemplative disciplines in Western philosophy—as well as being globally prominent, they nonetheless occupy marginalised roles in the contemporary academy. Other parallels include the challenges and benefits inherent in the (...)
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  30.  11
    Ways of the Hand: The Organization of Improvised Conduct.David Sudnow - 1978 - Harvard University Press.
  31.  9
    Becker, Howard S., Faulkner, Robert R., and Kirshenblatt-Gimblett, Barbara (Eds). Art From Start to Finish. Jazz, Painting, and Other Improvisations. University of Chicago Press. 2006. Pp. 248. 23 Half. [REVIEW]Art Criticism - 2006 - British Journal of Aesthetics 46 (4).
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  32. 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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  33.  59
    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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  34.  14
    Improvising Inquiry in the Community: The Teacher Profile.Eleonora Zorzi & Marina Santi - 2020 - Childhood and Philosophy 16 (36):01-17.
    Improvising involves participants adopting attitudes and dispositions that make them welcoming towards what happens, even when it is unforeseen. How is the discourse on improvisation and a disposition to improvise in the community connected to the concept of inquiry? What type of reasoning can be developed? This paper aims to reflect on two different perspectives. On the one hand, we consider the feasibility of improvising inquiry in the community, promoting inquiry as an activity that can be developed extemporaneously when (...)
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  35.  8
    Joint Improvisation in the Arts Practices : Entrainment, Engagement and Expert Skill.Ingar Brinck - 2018 - In Simon Penny & Kelly Donahey (eds.), Proceedings from A Body of Knowledge : Embodied Cognition and the Arts conference 8-10 Dec 2016 - Embodied Cognition and the Arts conference 8-10 Dec 2016. pp. 1-19.
    To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research (...)
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  36.  7
    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 (...)
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  37. 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 (...)
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  38. 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 (...)
     
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  39.  24
    Creative Implications of Deconstruction: The Case of Jazz Music, Photography, and Architecture.Francesco Paradiso - 2014 - Dissertation, University of New South Wales
    The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the (...)
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  40.  1
    The Experimental Composition Improvisation Continua Model: A Tool for Musical Analysis.Alister Spence - 2021 - Frontiers in Psychology 12.
    Among improvisers and composers today there is a resurgence of interest in experimental music practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose the Experimental Composition Improvisation Continua as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; both being (...)
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  41.  47
    L'utopie Jazz entre gratuité et liberté.Yves Citton - 2004 - Multitudes 2 (2):131-144.
    This article explores the intersection between freedom-liberty and freedom-gratuity in the practices filed under the heading «free jazz ». In light of the exemplary trajectory of Ken Vandermark, it analyses the space of freedom opened up by US college radios for the dissemination of improvised music. It then sketches the socio-political model implicitly projected by this unique form of interactive invention taking place within the collective of a jazz band, an interactive invention which dissolves the very notion of (...)
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  42.  98
    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; (...)
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  43.  68
    Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making.Cynthia R. Nielsen - 2015
    In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of (...)
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  44.  14
    Interpretation and Improvisation: The Judge and the Musician Between Text and Context.Angelo Pio Buffo - 2018 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 31 (2):215-239.
    This paper analyses the paradigms of interpretation and the evolution of the creative processes in music and law. Whether it is matter of a score or a law, the text is reborn through the work of the interpreter who, in dealing with the epistemological problem of the understanding, has to harmonize the purity of the philological reconstruction of the object with the need to actualize its sense. Moving from the creative character of every interpretation—neither the musician can be reduced to (...)
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  45.  28
    A frame of analysis for collective free improvisation on the bridge between Husserl’s phenomenology of time and some recent readings of the predictive coding model.Lucia Angelino - 2020 - Phenomenology and the Cognitive Sciences 19 (2):349-369.
    The kind of collective improvisation attained by the “free jazz” at the beginning of the sixties sets a challenge to analytic theories of collective intentionality, that emphasize the role played by future-directed plans in the interlocking and interdependent intentions of the individual participants, because in the free jazz case the performers’ interdependence or [interplay] stems from an intuitive understanding between musicians. Otherwise said: what happens musically is not planned in advance, but arises from spontaneous interactions in the (...)
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  46.  25
    Ingarden and the Problem of Jazz.Bruce Ellis Benson - 1993 - Tijdschrift Voor Filosofie 55 (4):677 - 693.
    Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind (...)
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  47.  12
    Collective intentionality and the further challenge of collective free improvisation.Lucia Angelino - 2020 - Continental Philosophy Review 53 (1):49-65.
    The kind of collective improvisation attained by free jazz at the beginning of the sixties appears interesting from the perspective of contemporary debates on collective intentionality for several reasons. The most notable of these, is that it holds a mirror up to what analytical philosophers of action identify as “the complexly interwoven sets of collective intentions” that make a group more than the sum of its parts. But at the same time, free jazz poses a challenge to (...)
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  48. El acorde que muere cuando nace. Alteridad Y ética Del cuerpo sin órganos en la improvisación de jazz.José Manuel Romero Tenorio, Davide Riccardi & Carolina Buitrago Echeverry - 2020 - Eidos: Revista de Filosofía de la Universidad Del Norte 32:335-358.
    RESUMEN Nos adentramos en esos procesos de subjetivación en los que el músico de jazz experimenta en sí otras formas de corporalidad, que se dirimen entre sujeción a esquemas y ruptura de los corsés por una teatralidad en escena. Aparentemente, en la improvisación prima lo subversivo y la reificación del músico como autor libre; sin embargo, observamos empíricamente una corporalidad plural que trasciende el espacio de la escena y que facilita que todos los actores intervengan en el proceso de (...)
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  49.  3
    Types, Styles, and Spaces of Possibility : Phenomenology and Musical Improvisation.Mitchell Atkinson - 2020 - Gestalt Theory 42 (3):253-270.
    Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment and Brudzińska as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures that are (...)
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    Ways of the Hand: A Rewritten Account.David Sudnow & Hubert L. Dreyfus - 2001 - MIT Press.
    Ways of the Hand tells the story of how David Sudnow learned to improvise jazz on the piano. Because he had been trained as an ethnographer and social psychologist, Sudnow was attentive to what he experienced in ways that other novice pianists are not. The result, first published in 1978 and now considered by many to be a classic, was arguably the finest and most detailed account of skill development ever published.Looking back after more than twenty years, Sudnow was (...)
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