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Journal articles on the topic 'Jazz philosophy'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Peretti, Burton W., and Scott Alexander. "The Red Hot Jazz Archive: A History of Jazz before 1930." Journal of American History 89, no. 3 (December 2002): 1181. http://dx.doi.org/10.2307/3092532.

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12

Brown, Lee B. "Jazz: America's Classical Music?" Philosophy and Literature 26, no. 1 (2002): 157–72. http://dx.doi.org/10.1353/phl.2002.0002.

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13

Allaerts, Wilfried. "On Music and Soul: Coltrane’s My Favorite Things, LeRoi Jones' Black Music and Adorno's papers on Jazz." International Journal of Arts and Humanities 2, no. 1 (2022): 56–69. http://dx.doi.org/10.25082/ijah.2021.01.003.

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In this review, we elaborate on the contrasts between Theodor W. Adorno’s philosophy of New Music and E. LeRoi Jones’ reports on the Avant-Garde of Jazz in Black Music. Whereas Adorno’s papers on jazz nowadays are considered at least inadequate to describe the post-war developments in jazz, and, according to some, rather refer to the German salon music of the Weimar Republic, an interesting key figure of the emancipation of jazz is found in John Coltrane’s music. In Coltrane’s version of My Favorite Things, an audaciously musical and conceptual link is found between the popular music of the Broadway musical, the avant-garde of jazz and a famous masterpiece of the Baroque era. Consequently, building upon a statement by Blaise Pascal, the notion of passion in music – in contrast with the notion of boredom - is analyzed in relation to the personality structure of gifted individuals, as described by Kazimierz Dąbrowski and followers.

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14

Ogren, Kathy J., and Krin Gabbard. "Jazz among the Discourses." Journal of American History 83, no. 1 (June 1996): 261. http://dx.doi.org/10.2307/2945587.

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15

Bindas, Kenneth J., and Ted Gioia. "The History of Jazz." Journal of American History 87, no. 1 (June 2000): 265. http://dx.doi.org/10.2307/2568011.

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16

Ogren, K. "Jazz on the River." Journal of American History 92, no. 4 (March 1, 2006): 1454–55. http://dx.doi.org/10.2307/4485957.

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17

Herer, Bertrand. "Letters to the Editor." Medical Problems of Performing Artists 15, no. 3 (September 1, 2000): 133. http://dx.doi.org/10.21091/mppa.2000.3026.

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I read the article in BMJ dealing with jazz saxophonists and the electronic mails reacting with it. I have written a paper on the longevity of jazz musicians that appears in this issue of MPPA [MPPA 2000;15(3):119]. My conclusions are different from those published in BMJ. I did not find that jazz saxophonists had a reduced life span, when comparing them with other jazz musicians.

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18

Brown, Lee B., and Krin Gabbard. "Jazz among the Discourses." Journal of Aesthetics and Art Criticism 55, no. 3 (1997): 325. http://dx.doi.org/10.2307/431806.

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19

Young, James O., and Carl Matheson. "The Metaphysics of Jazz." Journal of Aesthetics and Art Criticism 58, no. 2 (2000): 125. http://dx.doi.org/10.2307/432091.

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20

YOUNG, JAMES O., and CARL MATHESON. "The Metaphysics of Jazz." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 125–34. http://dx.doi.org/10.1111/1540-6245.jaac58.2.0125.

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21

Stowe, David W., Thomas J. Hennessey, and William Howland Kenney. "From Jazz to Swing: African-American Jazz Musicians and Their Music, 1890- 1935." Journal of American History 82, no. 2 (September 1995): 777. http://dx.doi.org/10.2307/2082322.

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22

Bresnahan, Aili. "Is Tap Dance a Form of Jazz Percussion?" Midwest Studies In Philosophy 44, no. 1 (November 26, 2019): 183–94. http://dx.doi.org/10.1111/misp.12127.

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23

Vandermark, Ken. "Echos d'un jazz libre d'Amérique." Multitudes 16, no. 2 (2004): 157. http://dx.doi.org/10.3917/mult.016.0157.

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24

Lewandowski, Joseph D. "Adorno on jazz and society." Philosophy & Social Criticism 22, no. 5 (September 1996): 103–21. http://dx.doi.org/10.1177/019145379602200506.

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Citton, Yves. "L'utopie Jazz entre gratuité et liberté." Multitudes 16, no. 2 (2004): 131. http://dx.doi.org/10.3917/mult.016.0131.

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26

Frohburg, Jan. "Ellington under Glass." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (November 4, 2019): 45–68. http://dx.doi.org/10.17979/bac.2019.9.0.4582.

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In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.

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27

Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.

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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.

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28

Tirro, Frank, Ken Burns, and Lynn Novick. "Jazz: A Film by Ken Burns." Journal of American History 88, no. 3 (December 2001): 1195. http://dx.doi.org/10.2307/2700566.

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29

Carvalho, Frederico Lyra de. "Improvisation, Identity and Systems from outside." Música Popular em Revista 8 (December 1, 2021): e021006. http://dx.doi.org/10.20396/muspop.v8i00.14303.

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In this article we propose to analyse some aspects of the music and musical thought of the musician Steve Coleman through the philosophy of Theodor Adorno. We will deal with Coleman's relationship to tradition and the concept of jazz, the practice of improvisation and the systematicality of his music. These questions will be treated under the prism of the dialectics of identity and non-identity dear to Adorno's Negative Dialectics. The objective is to try to demonstrate some of the contradictions that circumscribe Coleman's work and how it is built through them. We will deal with Coleman's relationship to the jazz tradition, his practice of improvisation and the systematicality of his music.

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30

Levinson, Jerrold. "Jazz Vocal Interpretation: A Philosophical Analysis." Journal of Aesthetics and Art Criticism 71, no. 1 (February 2013): 35–43. http://dx.doi.org/10.1111/j.1540-6245.2012.01539.x.

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31

LOVE, STEFAN CARIS. "The Jazz Solo as Virtuous Act." Journal of Aesthetics and Art Criticism 74, no. 1 (January 2016): 61–74. http://dx.doi.org/10.1111/jaac.12238.

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32

Early, Gerald, and Ingrid Monson. "Why Jazz Still Matters." Daedalus 148, no. 2 (April 2019): 5–12. http://dx.doi.org/10.1162/daed_a_01738.

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33

Romero Tenorio, Jose Manuel, Davide Riccardi, and Carolina Buitrago Echeverry. "The Chord That Dies When it’s Born. Alterity and Ethics on Body without Organs in Jazz Improvisation." Eidos, no. 32 (April 13, 2020): 335–58. http://dx.doi.org/10.14482/eidos.32.170.

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34

Gabbard, Krin. "La La Land Is a Hit, but Is It Good for Jazz?" Daedalus 148, no. 2 (April 2019): 92–103. http://dx.doi.org/10.1162/daed_a_01745.

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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.

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35

Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.

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36

Early, Gerald. "Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s." Daedalus 148, no. 2 (April 2019): 67–82. http://dx.doi.org/10.1162/daed_a_01743.

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In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jazz audiences and for American society at large.

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37

Szopa, Marek. "Equitable Distribution in a Three Players Problem." Studies in Logic, Grammar and Rhetoric 37, no. 1 (August 8, 2014): 239–52. http://dx.doi.org/10.2478/slgr-2014-0027.

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Abstract Jazz band is a 3 player superadditive game in characteristic function form. Three players have to divide the payoff they can get, while being in a grand coalition, provided their individual and duo coalitions payoffs are known. Assumptions of individual and collective rationality lead to the notion of the core of the game. We discuss offers that cannot readily be refused [OCRR] as the solutions of the game in case of an empty core, when duo coalitions are the best options but only for two out of three players. The experiment shows that even in case of an empty core the most probable results are three-way coalitions and the share of the weakest player usually exceeds his OCRR. The Shapley value is introduced and its fairness is discussed as it lies at the side of the core while, on the other hand, the nucleolus lies exactly at the center of the core. We conclude that, in spite of that, the Shapley value is the best candidate for a fair sharing solution of the jazz band game and other similar games as, opposite to the other values, it is dependent both on individual and duo coalitions payoffs.

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38

Brown, Lee B. "Postmodernist Jazz Theory: Afrocentrism, Old and New." Journal of Aesthetics and Art Criticism 57, no. 2 (1999): 235. http://dx.doi.org/10.2307/432315.

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39

Kraut, Robert. "Why Does Jazz Matter to Aesthetic Theory?" Journal of Aesthetics and Art Criticism 63, no. 1 (January 19, 2005): 3–15. http://dx.doi.org/10.1111/j.0021-8529.2005.00176.x.

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40

BROWN, LEE B. "Postmodernist Jazz Theory: Afrocentrism, Old and New." Journal of Aesthetics and Art Criticism 57, no. 2 (March 1, 1999): 235–46. http://dx.doi.org/10.1111/1540_6245.jaac57.2.0235.

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41

Plakhotnyuk, Oleksandr. "PERCEPTION OF THE WORLD OF JAZZ DANCE IN THE ARTISTIC SPACE OF THE 20TH CENTURY." Baltic Journal of Legal and Social Sciences, no. 2 (October 26, 2022): 157–62. http://dx.doi.org/10.30525/2592-8813-2022-2-26.

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In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.

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42

OBERLE, ERIC. "JAZZ, THE WOUND: NEGATIVE IDENTITY, CULTURE, AND THE PROBLEM OF WEAK SUBJECTIVITY IN THEODOR ADORNO’S TWENTIETH CENTURY." Modern Intellectual History 13, no. 2 (January 9, 2015): 357–86. http://dx.doi.org/10.1017/s1479244314000614.

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This essay addresses the emergence of theories of “identity” in twentieth-century politics, aesthetics, and philosophy by considering Theodor Adorno's understanding of “negative identity” as a form of coercive categorization that nevertheless contains social knowledge. A historical account of the Frankfurt school's relation to questions of race, anti-Semitism, and the idea of culture, the essay analyzes Adorno's infamous jazz articles in light of the transatlantic history of Marxian political theory and its understanding of racism, subject–object relations, and models of cultural production. The result is an investigation of the history of the concept of identity, its emergence alongside the rise of cultural studies, and its relation to international cultural–aesthetic formations such as jazz. The article concludes with an examination of Adorno's critique of idealism, cultural identity, and nationalism in light of the “wounded” political subjectivity of the modern era.

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43

White, John, and Craig Lloyd. "Eugene Bullard: Black Expatriate in Jazz-Age Paris." Journal of American History 88, no. 4 (March 2002): 1578. http://dx.doi.org/10.2307/2700710.

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44

Peretti, Burton W. "Speaking in the Groove: Oral History and Jazz." Journal of American History 88, no. 2 (September 2001): 582. http://dx.doi.org/10.2307/2675107.

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45

Erenberg, Lewis A., and Shelley Armitage. "John Held, Jr.: Illustrator of the Jazz Age." Journal of American History 75, no. 3 (December 1988): 998. http://dx.doi.org/10.2307/1901687.

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46

Friedman, J. Tyler. "On Narrativity and Narrative Flavor in Jazz Improvisation." Philosophy of Music 74, no. 4 (December 30, 2018): 1399–424. http://dx.doi.org/10.17990/rpf/2018_74_4_1399.

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This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to account for the experiential givenness of “narrative flavor” with the assistance of contemporary philosophical work on narrative and musicological work on improvisation and musical motion. Working with a minimalist definition of narrative that requires (1) the representation of two or more events that are (2) temporally ordered and (3) causally connected, music is found to be able to satisfy the second and third conditions. However, the questionable representation capacities of music lead to the conclusion that music cannot, in the strict sense, harbor a narrative. The experience of narrative flavor is explained with reference to J. David Velleman’s concept of emotional cadence, Brian Harker’s work on structural coherence in improvisation, and Patrick Shove and Bruno Repp’s work on the perception of musical motion. These sources are utilized to demonstrate that improvisations can be structured so as to give the listener the impression of having heard a story by initiating and carrying out an emotional cadence.

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47

Nam, Jung Woo. "A Nomadism of Third Stream: Smooth Space of Classical and Jazz Music: Following the DeleuzoGuattarian Philosophy of Art." Korean Association for the Study of Popular Music 29 (May 31, 2022): 39–78. http://dx.doi.org/10.36775/kjpm.2022.29.39.

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Third Stream, born in the late 1950’s, was of a musical experiment for a confluence between classical and jazz music without undermining the natures of advanced formal structure and the improvisational spontaneity, respectively. Venturing the trials to overcome misunderstandings, stratify the idea of Third Stream a smooth space reproducing style than being a style-in-itself, for the musicians from each territories regarded the opponents as obstacles mutually, as an infection to classic and restriction to jazz. The DeleuzoGuattarian geo-philosohpy defines work of art as result of monument bearing, giving birth to an existence with style, and also the power of escape and return as ritornello, which means dynamics of experimental improvisation and re-territorializing creative style principle of the consistent and striped strata. A drifting trajectory of style constructing and reinterpreting artwork need rather only the smooth space of free taxing than consistent and striped space of polis. As a smooth space of ritornello and drifting line of free flight, the third stream had expanded and overcome the critical points of racial conflict and commercialization through the threshold of musical revolutions.

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48

Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.

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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.

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Henoch, Miriam A., and Kris Chesky. "Sound Exposure Levels Experienced by a College Jazz Band Ensemble: Comparison with OSHA Risk Criteria." Medical Problems of Performing Artists 15, no. 1 (March 1, 2000): 17–22. http://dx.doi.org/10.21091/mppa.2000.1004.

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Jazz education plays a prominent role in the music education of students in secondary and postsecondary schools. Although there is some research relative to health risks posed to professional musicians, little information is available as it relates to young musicians at the collegiate and secondary levels. The primary purpose of this study was to assess the risk of music-induced hearing loss to members of a college jazz band using the currently defined damage risk criteria of the Occupational Safety and Health Administration (OSHA) (1983). Dosimeter measurements were made over a 3-day period for five different positions within a University of North Texas jazz ensemble. Measurements obtained from each musician and each position were then compared with current OSHA standards. Findings indicated that when equivalent measures were derived for three hours of exposure, allowable exposure limits were exceeded for ten of the 15 measures obtained. The lead musicians within the ensemble appeared to be at the highest risk for hearing loss. The findings lend further support for the inclusion of musicians in an occupational noise standard.

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Kähäri, Kim, Mats Eklöf, Leif Sandsjö, Gunilla Zachau, and Claes Möller. "Associations Between Hearing and Psychosocial Working Conditions in Rock/Jazz Musicians." Medical Problems of Performing Artists 18, no. 3 (September 1, 2003): 98–105. http://dx.doi.org/10.21091/mppa.2003.3018.

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A study on the assessment of hearing and hearing disorders in rock/jazz musicians concluded that 74% of the musicians had some kind of disorder. The main hearing disorders found were pure-tone hearing loss, tinnitus (an acoustic sensation of sounds), hyperacusis (a hypersensitivity to low or moderate sound levels), and distortion (music sounds out of tune). Affected musicians often were able to give the exact time of the first appearance of the hearing disorders, which often was associated with a period of excessive sound exposure, high workload, or some form of emotional stress. The aim of this study was to explore associations between psychosocial work conditions, mental load, and hearing disorders in rock/jazz musicians. A total of 139 (43 women and 96 men) voluntarily participating rock/jazz musicians answered a questionnaire on psychosocial work conditions and mental load. The data were correlated to hearing and sex. The median age was 35 years in the women and 37 years in the men. Results showed that rock/jazz musicians do not generally experience themselves as stressed at work. The influence of working conditions is good, and the work consists mainly of attractive tasks. In men, hyperacusis was associated with higher psychological demands, greater difficulty in relaxing after work, higher stress during individual preparation, not getting enough sleep, and higher perceived sound level. In women, tinnitus was associated with greater difficulty in relaxing after work and less energy during musical performances. No strong correlation between psychosocial parameters and hearing loss was found. Positive and negative effects of stress on hearing are discussed.

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