Black American Writing from the Nadir: The Evolution of a Literary Tradition, 1877-1915 , and: Stealing the Fire: The Art and Protest of James Baldwin , and: The Signifying Monkey: A Theory of Afro-American Literary Criticism (review)

Byerman, Keith

doi:10.1353/mfs.0.1444

Cited by 1 publication

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“…Building on the foundational skill of listening, Monson’s analysis of signifying is another aspect of jazz performance practice that is applicable within collaborative composition. The standard definition of the term ‘signification’ refers to the meaning, or intended meaning, of a word (Gates, 2014, p. 46), but Gates adapts the term as ‘Signifyin(g)’ (with a capital S and bracketed g) to describe the ‘black expressive practice of indirection’ frequently found in African-American vernacular (Byerman, 1989, p. 770). Expanding on this, Monson (1996) suggests ‘signifying as a speaking style defined in this manner includes both formal verbal games and individual statements in which two-sided or multiple meanings are embedded’ (p. 87).…”

Section: Introductionmentioning

confidence: 99%

Expanding models of music composition: Exploring the value of collaboration

Williamson

Luebbers

2022

International Journal of Music Education

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Collaborative composition is an established method within music education, but it is a relatively rare phenomenon between composers of large-scale musical works. This research explores collaborative composition in a professional context and highlights the potential and value of its inclusion in specialist composition training at a tertiary level. The paper explores approaches, processes and outcomes arising from collaborative composition through reflection on a large-ensemble collaborative work, Interpolations, composed by participant-researchers’ Johannes Luebbers and Paul Williamson. The participant-researchers’ background as jazz improvisers emerged as a point of significance and was observed to fundamentally impact the collaborative process. Listening and signifying are identified by Monson as integral to the interactive exchanges between jazz improvisers, which extended into the collaborative composition process. This was given the term ‘Jazz Improvisers Collaborative Cycle’ (JICC), reflecting the tacit skills jazz improvisers bring to a collaborative relationship. The composers were struck by the refreshing and inspiring nature of working collaboratively, the unexpected and complementary ideas and materials, and the value of a constant sounding board that enabled them to formulate, develop and refine ideas. This project suggests collaborative composition as an alternative model that would be valuable for further exploration within education and professional communities.

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Section: Introductionmentioning

confidence: 99%