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Of Sunshine and Happy Endings: Jazz, Parody, and the Limits of Interpretation
Sunshine Happy Endings Jazz Parody Interpretation
2008/10/29
Given the complexities of his musical thought, the composer and music theorist George Russell has been a prime target for formalist analysis, which tends to emphasize his use of polytonality, his intr...
Gittin' to Know Y'all: Improvised Music, Interculturalism and the Racial Imagination
experimental music communities free jazz free improvisation
2008/10/29
This essay examines one of the first extensively documented musical collaborations between two experimental music communities that emerged at around the same moment in time: members of the European “f...
I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980
African-American Experimental Composers French Jazz Press
2008/10/29
Beginning in the 1970s, the French jazz press became the first community of critics seriously to consider the new African-American experimental music being put forth by musicians such as Ornette Colem...
The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement
Jazz Avant-Garde Black Arts Movement Black Aesthetic
2008/10/29
This essay focuses on the relationship between writers associated with the Black Arts Movement in the United States and the experimental directions in jazz that occurred during the 1960s, the decade g...
“I wanted to live in that music:” Blues, Bessie Smith and Improvised Identities in Ann-Marie MacDonald’s Fall on Your Knees
blues music Fall on Your Knees
2008/10/29
This paper explores the link between the improvisatory nature of blues music and resistance to socially prescribed expectations for gender and sexuality in Ann-Marie MacDonald’s first novel, Fall on Y...
在高等音乐教育体系中，以统称“四大件”的《和声学》、《对位法》、《曲式学》以及《配器法》为核心构架的作曲技术理论教学，可以大致分为三类：第一类是作为专业（主）课的作曲技术理论教学，教学对象主要为作曲技术理论各专业方向的博士、硕士研究生[①]，他们以作曲技术理论中某一个方向为专攻，兼修相关方向或课程作为专业学习的基础与辅助；第二类是作为专业基础课的作曲技术理论教学，教学对象主要为作曲专业及相关专业（...
走近舒伯特的“想象世界”，一种人文视域——记杨燕迪教授专题讲座《舒伯特的音乐世界》
音乐世界 想象世界 舒伯特
2008/10/28
2008年上海音乐学院第五届国际钢琴大师班在金秋十月如期而至，国际钢琴大师班作为中国音乐界的一个著名品牌，其中的专题讲座业已成为不可或缺的学术重头戏。本人非常有幸能听到杨燕迪教授（后文尊称杨教授）专题讲座《舒伯特的音乐世界》。本次讲座是继杨教授“莫扎特”和“贝多芬”专题讲座之后，为了配合本次国际大师班舒伯特主题专门准备的又一个重要的专题性讲座。杨教授从综合性与人文性的特殊角度为我们诠释了伟大作曲家...
A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music
North Indian Classical Music
2008/10/28
This paper investigates the interrelation between two aspects of North Indian classical music that at first might appear to occupy opposite poles of creativity and constraint. The first is the soloist...
Asian/American Improvisation in Chicago: Tatsu Aoki and the ‘New’ Japanese American Taiko
American Improvisation Japanese American Taiko Tatsu Aoki
2008/10/28
In this essay, I look at Aoki’s recent work in order to consider the place of the Asian/American in the world of American improvisation and public presentation. Aoki’s long-term involvement in the (As...
This essay is an introduction to what has been called the Asian American Creative Music Movement, focusing especially on musicians based in the San Francisco Bay area. It examines the history of those...
Deconstructin(g) Jazz Improvisation: Derrida and the Law of the Singular Event
Deconstructin(g) Jazz Improvisation jazz-text collaboration
2008/10/28
Taking as its point of departure the improvised jazz-text collaboration between Ornette Coleman and Jacques Derrida at the 1997 Paris La Villette jazz festival, this article critiques the dominant pos...
Dominant Positions: John Coltrane, Michel Foucault, and the Politics of Representation
Dominant Positions John Coltrane Politics of Representation Michel Foucault
2008/10/28
In a 1979 essay on the principles of a contemporary movement in literature, écriture, Michel Foucault quotes approvingly a rhetorical question posed by minimalist author Samuel Beckett: “what does it ...
Jeanne Lee's Voice
Jeanne Lee Voice
2008/10/28
This essay attempts to recuperate the legacy of Jeanne Lee, an important artist whose work has gone largely unnoticed by scholars, while simultaneously examining the broader social and cultural signif...
Drawing on qualitative analytic studies of improvising musicians this paper discusses ways in which the construction and representation of self-identity can be observed in improvisational practice. Fo...
This article focuses on the legendary Buddy Bolden, a putative godfather of jazz improvisation in the very earliest days of jazz-like music–making in New Orleans. We first seek to position him both wi...