Jazz as musical practice

The emotion trajectory of self-selected jazz music with lyrics: A psychophysiological perspective

“…A pre-study determined ES musical stimuli from 16 pairs of musical pieces of jazz music written before 1959 with vocal and instrumental versions. Jazz music was used because it significantly affects positive and negative mood management (Cook et al, 2019) and often has vocal and instrumental covers of the same songs (Jackson, 2002). Using naturally occurring instrumental and vocal jazz recordings increases ecological validity, which is strongly recommended for musical emotion research (Eerola & Vuoskoski, 2013), since familiar music most effectively evokes target emotions (van Goethem & Sloboda, 2011).…”

Swinging within the iron cage: Modernity, creativity, and embodied practice in American postsecondary jazz education

“…These building blocks are elements that have become conventionalized within a specific tradition of performance and appreciation. Jazz is characterized by its own conventions that pertain to harmonic, melodic, and rhythmic elements; execution (phrasing, timbre); communicative forms between players; modes of presentation; and repertoire (Berliner 1994; Jackson 2002; Monson 1996). It is possible to learn many of these conventions by practicing the transcribed recorded solos of jazz masters, which are held to be prototypes of these elements.…”

“…The term jazz music refers here to a fluctuating entity that is constantly being negotiated by critics, music producers, musicians, teachers, collectors, and other actors within the jazz art world. Broadly defined, jazz music is a prototypical set of formal aspects that include distinct patterns of improvisation, harmony, rhythm, orchestration and voicing, execution (e.g., phrasing, timbre manipulation) (Berliner 1994; Jackson 2002), and modes of interaction between performers (Monson 1996), to name but a few factors. In addition, it is informed by a canon of repertoire and great performers, a historical narrative, and various ideologies (DeVeaux 1991; Genarri 1991) that pertain to the music's “meaning” for experienced and inexperienced listeners and for practitioners (Townsend 2000).…”

The Relevance of Husserl's Theory to Language Socialization

“…In the world of music instruction, over time the sum of the different ways of hearing and listening that are encouraged and modeled by the instructor and experienced by the students become part of their musical competence and eventually contribute to the definition of their professional identity not just as musicians but as musicians of a certain type, in our case, jazz musicians (Jackson 2000, 2002; Dortier 2002; Black 2008). If they succeed, they will arrive to share what we might call a “professional ear” just like archaeologists share what Charles Goodwin (1994) called a “professional vision.” When archaeology students are asked to identify a “change of slope” in the ground surface (Goodwin 1994:613–4), they are being socialized to see the ground in new terms, according to a profession‐specific categorization scheme.…”