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Relevant bibliographies by topics / Jazz philosophy

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Academic literature on the topic 'Jazz philosophy'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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Journal articles on the topic "Jazz philosophy"

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Tartaglia, James. "Jazz-Philosophy Fusion." Performance Philosophy 2, no. 1 (July 29, 2016): 99. http://dx.doi.org/10.21476/pp.2016.2162.

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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 – which are often emotional – are under-recognised in philosophy, but they do important philosophical work in demarcating the kinds of truths we want to discover, and in sustaining our search for them. Jazz-Philosophy Fusion can help to increase metaphilosophical self-consciousness about these effects, while also helping to counteract any undue persuasive force they may achieve. Jazz is a particularly suitable medium because it has independently developed a concern with philosophical ideas; because of strong parallels between jazz and philosophy which explain their mutual openness to fusions, and because improvisation very effectively facilitates the direct audience engagement essential to inducing these effects.

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Tartaglia, James. "Philosophy, Jazz, Hate and Love." Philosophers' Magazine, no. 88 (2020): 29–35. http://dx.doi.org/10.5840/tpm2020888.

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Lewis, Eric. "Jazz and the Philosophy of Art." Jazz and Culture 3, no. 1 (January 1, 2020): 85–90. http://dx.doi.org/10.5406/jazzculture.3.1.0085.

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Gracyk, Theodore. "Jazz After Jazz : Ken Burns and the Construction of Jazz History." Philosophy and Literature 26, no. 1 (2002): 173–87. http://dx.doi.org/10.1353/phl.2002.0011.

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Porter, E. "Jazz." Journal of American History 97, no. 4 (March 1, 2011): 1143–44. http://dx.doi.org/10.1093/jahist/jaq004.

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Post, Robert C., and Ted Gioia. "West Coast Jazz: Modern Jazz in California, 1945-1960." Journal of American History 80, no. 4 (March 1994): 1528. http://dx.doi.org/10.2307/2080727.

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Gabbard, Krin. "The Jazz Ambassadors." Journal of American History 105, no. 3 (December 1, 2018): 776–78. http://dx.doi.org/10.1093/jahist/jay437.

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Goldberg, David J., and Michael Alexander. "Jazz Age Jews." Journal of American History 89, no. 3 (December 2002): 1102. http://dx.doi.org/10.2307/3092452.

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White, John, and Kathy J. Ogren. "The Jazz Revolution: Twenties America & the Meaning of Jazz." Journal of American History 77, no. 1 (June 1990): 340. http://dx.doi.org/10.2307/2078747.

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Walton, John. "Book Review: Jazz and Death: Medical Profiles of Jazz Greats." Journal of Medical Biography 11, no. 3 (August 2003): 186. http://dx.doi.org/10.1177/096777200301100323.

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Dissertations / Theses on the topic "Jazz philosophy"

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Garlitz, Dustin Bradley. "Philosophy of new jazz : reconstructing Adorno." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002213.

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Johnson, Michael. "The philosophy of jazz as transcribed by Michael Johnson." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/703.

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Desplat-Roger, Joana. "Le jazz comme résistance à la philosophie." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100066.

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Cette thèse de Doctorat propose de réfléchir sur la place du jazz dans la philosophie. Notre réflexion part du constat suivant : le jazz, qui apparaît comme un phénomène esthétique majeur du XXe siècle, a pourtant été « délaissé » par la philosophie qui lui a été contemporaine. Ce désamour de la philosophie à l’égard du jazz se mesure à deux niveaux : d’une part à la rareté des écrits philosophiques qui lui sont consacrés, d’autre part à la dureté du traitement qui lui a été généralement réservé. Mais alors, quel sens donner à ce silence « philo-phonique » sur le jazz ? Pourquoi les philosophes contemporains au siècle du jazz ne se sont jamais véritablement intéressés à sa dimension esthétique ? Et pourquoi n’ont-ils pas davantage porté attention à ses revendications politiques – et ce alors même que celles-ci ont donné lieu à de vifs débats dans les années 1960-1970 ?L’objectif de ce travail de recherche ne consiste pas à exposer des éléments conceptuels sur lesquels on pourrait faire reposer une philosophie du jazz, mais plutôt à faire émerger le sens philosophique de ce « rendez-vous manqué » entre le jazz et la philosophie. Car la philosophie, par le jazz, semble devoir se confronter à ce qui lui résiste : c’est donc bien l’échec philosophique en tant que tel qui est interrogé, à partir du cas du jazz
This doctoral thesis proposes to consider the place of jazz in philosophy. Our reflection starts from the following observation: jazz, which appears to be a major aesthetic phenomenon of the 20th century, has nevertheless been “neglected” by contemporary philosophy. This disenchantment of philosophy with jazz can be measured on two levels: on the one hand, the scarcity of philosophical writings devoted to it, and on the other hand, the harsh treatment that has generally been reserved for it. How are we to understand this “philo-phonic” silence on jazz? Why have contemporary philosophers in the jazz century never really been interested in its aesthetic dimension? And why didn’t they pay more attention to its political claims – even though these were hotly debated in the 1960s and 1970s?This research does not seek to lay the conceptual groundwork for a philosophy of jazz, but rather to come to a philosophical understanding of the “missed rendezvous” between jazz and philosophy. For philosophy, through jazz, seems to have to confront what resists it; therefore it is philosophical failure as such that is called into question by the case of jazz

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Simuro, Valerie T. "A Woman's Place in Jazz in the 21st Century." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7363.

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Women often harbor ingrained attitudes that restrain them from achieving a successful career. They retain deep-seated attitudes that confine them to a self-defined space based on internalized patriarchal standards. Some women do achieve success in spite of the challenges they face. Esperanza Spalding, a young, African-American woman jazz instrumentalist is one such success story. She defies convention, plays an unconventional musical instrument in a musical genre that is historically deemed a masculine world. My thesis discusses the difficult path she traverses between feminist ideals and commercial success. It discusses what characteristics of femininity she chooses to display. Some intentional, some based on ingrained stereotypical standards set by society. Like wearing a gown to perform at the White House. It seems a normal standard of dress for a female in the West for such an occasion but it is based on a standard of what is appropriate dress for a man and for a woman. It is based on binary gender roles created by a patriarchal system. Esperanza was relatively unknown by the general public before she beat out Justin Bieber to win the 2011 Grammy for Best New Artist, yet she had already released three solo albums and was highly regarded by both critics and her jazz peers. Although extremely talented, it was not until her performance persona was molded by her management company that she became famous. The music industry and her management team are mostly controlled by men. Her mentors were mostly men. The male ideal of femininity is reinforced by the music industry, mass media, and in some cases, women themselves. Frequently, a female instrumentalist who plays the upright bass, a seemingly masculine instrument, is perceived as a novelty, but Spalding transcends that patriarchal ideology. She successfully negotiates the chauvinistic world of jazz. This paper explores Spalding’s performance through the lens of feminine consciousness as described by Sandra Bartky, and discusses the social construction of a female jazz instrumentalist’s identity based on Judith Butler’s theory of performativity. While this paper classifies a musician as female or male, which implies that they are each a separate and distinct category, it does not discount that each gender may possess qualities of the other. Chapter two discusses elements of Esperanza’s physical appearance which embrace feminine ideals and simultaneously fight against them. She uses make-up to enhance her appearance, she wears clothes that adhere to a double standard, yet she defies the white ideal of femininity with her afro hairstyle and callused hands and blunt nails. Spalding is a dedicated professional. Her appearance is important to her livelihood. Feeling good about oneself instills self-confidence to engage with the audience. The patriarchal point of view is so ingrained in a woman’s subconscious, reinforced in the media and in marketing that women often dress with the visualization of the gaze of the ‘Other,’ which reinforces gendered significations. Signifiers of femininity are not only characterized by physical attributes, but also by elements of sound, body movements, occupied space, and appurtenant objects that historically represent a masculine or feminine frame of reference. Chapter Three discusses how Esperanza Spalding’s music tends to resist society’s views of gender roles. Jazz musicians, in particular, construct a distinctive role or persona based on the conventions of the genre, the marketing strategies of the music industry, and the individual talents of the artist. [rock star and jazz]. Spalding, as band leader, occupies center stage. Standing center stage in the spotlight leading the band on an upright bass is a seemingly aggressive, masculine position. Spalding challenges gender appropriate norms and expectations and embodies a strong, confident band leader, yet not with the negative effects of the Double Bind. Two aspects of the jazz musician is their stance and their ability to improvise. Spalding’s stance communicates to the audience her competence and leadership ability without sexual innuendo. Her improvisational style communicates her musical talents. It is traditionally viewed as a masculine skill and a competitive exercise but Spalding’s display is not aggressive and competitive. She uses her creative musical talent to carry on a musical conversation. Improvisation is creation of music in the moment. Spalding exhibits courage and a willingness to take a risk which are perceived historically as masculine traits. Spalding provides an individualized path to femininity. Women tend not to pursue paths that are not already fully occupied by women. Spalding is doing some remarkable things in terms of a woman in a male-dominated field. Spalding challenges socially constructed gender roles and serves as a role model for future generations.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Eriksson, Markus. "Hur fångar man musiken? : Fem olika jazzmusikers tankar och resonemang kring begreppet improvisation." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8730.

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I denna uppsats försöker jag beskriva vad begreppet improvisation innebär inom jazzmusik. Ämnet improvisation är för mig väldigt viktigt, det är ett ämne som jag valt att specialisera mig på i min musikhögskoleutbildning. Min förmåga att improvisera har hjälpt mig i många situationer i livet, framförallt sådana situationer där det gäller att kunna vara flexibel, till exempel spel- eller musikundervisningssituationer. Undersökningen baseras i huvudsak på intervjuer med fem olika svenska jazzmusiker. Jag har kommit fram till att begreppet improvisation är komplext och svårdefinierat. Det finns dock vissa, vanligen återkommande, viktiga ingredienser inom improvisation som definierar vad som är kvalitet, bra eller dåligt. Improvisation är en social sysselsättning. Det handlar om att vara lyhörd, att påverkas av sin omgivning. Samtidigt måste man som musiker ha goda instrumentfärdigheter för att obehindrat kunna uttrycka de musikaliska idéer som kommer till dig i stunden. Det finns många likheter med att lära sig ett språk. För att bli en god improvisatör så krävs det att man tänker på vad man spelar och varför på samma sätt som vi i vardagliga livet reflekterar över vår personlighet och våra handlingar.
In this essay I will try to determine the meaning of the word improvisation within the field of jazz music. The survey is based on five different interviews with jazz musicians. In my inquiry, I have found that the word improvisation is complex and difficult to explain. There are however, some common, key ingredients that can define quality in an improvisation. Improvisation is a social activity. It is about having a keen ear to what´s going on around you. In addition to this, you need, as a musician, good instrumental skills to be able to express the musical ideas that come to you. There are many similarities to learning a language. To be a good improviser you need to think about what you play and why you play it, in the same way that we, in everyday life, reflect on our personality and our actions.

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Vincs, Robert, and robert vincs@deakin edu au. "African heart, eastern mind: the transcendent experience through improvised music." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.121703.

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Béthune, Christian. "Le jazz comme critique des catégories de l'esthétique." Paris 1, 1992. http://www.theses.fr/1992PA010595.

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LLe projet de la présente étude est double : il s'agit dans un premier temps de rendre justice à une forme d'expression qui, en dépit de son importance culturelle, n'a jusqu'à présent guère suscité les analyses philosophiques (vide théorique que le présent travail voudrait en partie combler) ; mais il s'agit également de montrer comment, dans l'organisation de sa poétique le jazz vient remettre en question le discours de l'esthétique en rendant inopérantes les catégories au moyen desquelles l'analyse philosophique s'attache rendre compte du fait artistique
The purpose of the present study is dual. First I attempt to appreciate in a true way a form of expression which - in spite of its outstanding cultural impact - has raised only few philosophical analyses (a theoretical vacancy that i would hope partially to fill up). But I attempt in another way to point out kow. In its poetical structure, jazz music context the usual speech about aesthetics, faisifying the categories through philosophical analysis gives account of the artistic fact

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Carsalade, Pierre. "Paris transatlantique : les débuts de free jazz en france, des années 1960 aux années 1970 : essai d'analyse anthropologique de relations musicales transatlantiques." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0451.

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Cette thèse est une étude anthropologique et historique de la reformulation du free jazz en france dans les années 60 et 70, à un moment où les musiciens européens s'émancipent de leur position épigonale vis-à-vis du jazz américain pour créer de l'identité musicale locale. Une première problèmatique de recherche concerne l'analyse anthropologique des logiques d'altérité portées par la pratique jazzistique. Car si le jazz participe pleinement de notre modernité occidentale, il configure également à ses marges un modèle culturel alternatif à l'influence durable - un véritable autre dans le même. La seconde problèmatique est un retournement réflexif de cette approche de l'altérité. La circulation musicale transatlantique qui fonde ce rapport de l'Europe à "l'autre" afro-américain est alors envisagée dans les termes d'une anthropologie symétrique et d'une anthropologie du proche. L'étude de la reformulation française du free-jazz, au travers de relations à des objets comme entre sujets,dans la perspective d'une anthropologie de l'acculturation mobilisant les concepts de reformulation, de bricolage et de malentendu, permet plus globalement de questionner notre modernité culturelle européenne, ses limites et ses altérités internes. Il s'agit ainsi d'étudier la réception en France d'une altérité culturelle intimement articulée à la musique, au travers d'une méthode originale consistant à théoriser les pratiques musicales plutôt que les traits formels, les logiques socio-musicales à l'oeuvre dans ces pratiques, enfin les processus de circulation symbolique entre pratiques, formations discursives et objets sensibles qui informent créativité et identité musicales locales
This thesis work is an anthropological and historical study of the reformulation of free jazz in France, in the 60's and 70's. In this formative period, european musicians started to emancipate from their epigonal position concerning american jazz, creating some local musical identity. A first research problematic concerns the anthropological analysis of the otherness brought by jazzistic musical practice. If jazz is fully part of our occidental modernity it also constitutes, at its ends, an alternative cultural model - an influent otherness in the same. The second research problematic is a reflexive turnround of this otherness approach. The transatlantic musical circulation which is at the very heart of this relation of Europe with the afro-american "other" is then examined in the perspective of a symetric anthropology and an anthropology of the near. By studying the way free jazz was reformulated in France, through relations to objects as between subjects, in the perspective of an anthropology of cultural change mobilizing the concepts of reformulation, bricolage and misunderstanding, the purpose of such a work is to examine our european cultural modernity, its limits and internal otherness. By doing so, this works intends to study the reception in France of a cultural otherness intimately articulated with the music, through an original method consisting of theorizing the musical practices instead of the formal features they determine, the socio-musical logics operating in these practices and finally the processes of symbolic circulation between practices, discursives formations and sensibles objects that inform musical creativity and produce local identity

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Moussaron, Jean-Pierre. "A défaut - la littérature : (Baudelaire, Flaubert, Proust, Deguy)." Paris 8, 1997. http://www.theses.fr/1997PA08A001.

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Parmi de nombreuses publications (articles et livres) concernant toutes le problème de la représentation artistique, on a choisi de centrer la réflexion sur la littérature, en prenant pour textes tuteurs le spleen de paris de Baudelaire, l'éducation sentimentale et Bouvard et Pécuchet de Flaubert, du coté de chez Swan de Proust, et l'oeuvre poétique et théorique de M. Deguy, selon la perspective polysémique du défaut. Où l'on s'efforce de montrer que, devant la non-coi͏̈ncidence du langage et du réel, le véritable écrivain écrit son oeuvre selon la motion d'un désir qui ne tient que par le défaut du réel qu'il vise, en opérant dans la langue la représentation (ou mimesis) du dit réel comme une transaction avec ce défaut. Par quoi, il apparaît que la littérature (roman et poésie), n'ayant lieu qu'au défaut de jonction entre les mots et les choses, se produit aussi comme représentation de ce défaut, tout en étant mise en défaut par la subversion de la représentation inhérente a celle-ci. Enfin, l'écrivain oeuvre a cette tache avec ce qui lui fait défaut : la maîtrise de la langue qu'il maneuvre tout en étant maneuvré par elle. Des lors, face à cet ensemble de défauts, la véritable condition de la littérature, qui doit parler de cela sauf a se condamner a ne rien dire, se révèle etre la fragilité. Pour assumer cela, tout en préservant son "minimum spécifique" que demeure, si subvertie soit-elle, la représentation en langue, la littérature peut aller jusqu'au rien comme perte de sens et mesure du néant. Mais elle doit, aussi, reposer la question du bonheur, selon la recherche poétique du semblable, comme un vivre-ensemble plus fraternel des humains, en actualisant la conception stendhalienne de la beauté "comme promesse de bonheur".

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Books on the topic "Jazz philosophy"

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The contradictions of jazz. Lanham, Md: Scarecrow Press, 2008.

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Orlich, Lando. Socrate e il jazz. Firenze: L'autore libri Firenze, 1995.

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The world of jazz trumpet: A comprehensive history & practical philosophy. Milwaukee, WI: Hal Leonard, 2005.

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Zu einer Ästhetik des Jazz. Frankfurt am Main: P. Lang, 1995.

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F. Scott Fitzgerald: Die Philosophie des Jazz Age. Frankfurt am Main: P. Lang, 1994.

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Le jazz et l'Occident: Culture afro-américaine et philosophie. Paris: Klincksieck, 2008.

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Berendt, Joachim Ernst. Das Leben, ein Klang: Wege zwischen Jazz und Nada Brahma. München: Droemer Knaur, 1996.

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Adorno et le jazz: Analyse d'un déni esthétique. Paris: Klincksieck, 2003.

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Il corpo sonoro: Oralità e scrittura nel jazz. Bologna: Mulino, 2007.

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Gioia, Ted. The imperfect art: Reflections on jazz and modern culture. New York: Oxford University Press, 1988.

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Book chapters on the topic "Jazz philosophy"

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Feige, Daniel Martin. "Ontology of Improvisation and Jazz." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 73–84. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-7.

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Hagberg, Garry L. "Jazz Improvisation, Authenticity, and Self-Expression." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 214–27. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-18.

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Angelo, Elin. "Music Education as a Dialogue Between the Outer and the Inner. A Jazz Pedagogue’s Philosophy of Music Education." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 169–84. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_10.

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Brown, Lee B., David Goldblatt, and Theodore Gracyk. "Defining Jazz Historically." In Jazz and the Philosophy of Art, 64–89. Routledge, 2018. http://dx.doi.org/10.4324/9781315280615-4.

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Schmidt, Russell A. "Jazz Piano." In Teaching School Jazz, 199–208. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0018.

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Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.

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Baber, Katherine. "Bernstein’s Philosophy and the Language of Jazz." In Leonard Bernstein and the Language of Jazz, 11–44. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042379.003.0002.

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Chapter 1 looks at Bernstein’s writings on musical meaning, national style, and jazz to reveal the philosophy behind his use of jazz and its significance as a part of his long-term project to define American musical identity. A definition of the jazz idiom, according to Bernstein’s understanding, is interwoven with three important strands of Bernstein’s musical thinking: the primacy of tonality, the value of music as a unique form of human communication, and the formation of national identity in music. The chapter focuses particularly on Bernstein’s Harvard honors thesis, the Charles Eliot Norton Lectures (published as The Unanswered Question), and The Joy of Music.

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Brown, Lee B., David Goldblatt, and Theodore Gracyk. "Jazz Improvisation and its Vicissitudes." In Jazz and the Philosophy of Art, 261–89. Routledge, 2018. http://dx.doi.org/10.4324/9781315280615-11.

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Brown, Lee B., David Goldblatt, and Theodore Gracyk. "Jazz Singing and Taking Wing." In Jazz and the Philosophy of Art, 91–119. Routledge, 2018. http://dx.doi.org/10.4324/9781315280615-5.

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Brown, Lee B., David Goldblatt, and Theodore Gracyk. "Race, Jazz, and Popular Music." In Jazz and the Philosophy of Art, 120–48. Routledge, 2018. http://dx.doi.org/10.4324/9781315280615-6.

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Brown, Lee B., David Goldblatt, and Theodore Gracyk. "Jazz and the Culture Industry." In Jazz and the Philosophy of Art, 149–77. Routledge, 2018. http://dx.doi.org/10.4324/9781315280615-7.

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