Out of Notes: Signification, Interpretation, and the Problem of Miles Davis

Walser, Robert

doi:10.1093/mq/77.2.343

Cited by 43 publications

(18 citation statements)

References 11 publications

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“…The uneasiness many critics display toward Davis's "mistakes," and their failure to explain the power of his playing, suggest that there are important gaps in the paradigms of musical analysis and interpretation that dominate jazz studies. 45 Admittedly, some of these criticisms have been the result of critics' ignorance of jazz's harmonic traditions (for instance, the neutral third it inherited from some West African music) and its widened conception of timbral possibilities (stretching back through Ellington's horns' jungle effect, to precursors such as Robert Johnson's blues guitar and Leadbelly's field-holler vocal inflections). But much of it has come, I think, from a misconception of jazz performances as like, or intended to be like, classical works-worked out in advance to maximize their aesthetic value.…”

Section: Jazz Performances As Workmentioning

confidence: 99%

All Play and No Work: An Ontology of Jazz

Kania¹

2011

The Journal of Aesthetics and Art Criticism

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Section: Jazz Performances As Workmentioning

confidence: 99%

All Play and No Work: An Ontology of Jazz

Kania¹

2011

The Journal of Aesthetics and Art Criticism

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“…They revealed how these sounds take part in art compositions and music improvisations as well as performances experimenting with voice and body. The unexpectedness of sound in the composition, especially jazz improvisation, is broadly investigated by Marcel Swiboda and Ian Buchanan (2006), Ian Carr (1992), and Robert Walser (1993). Their works on Miles Davis or Keith Jarrett's improvisation also supported the interpretation of the recent project, which is influenced by these and other great jazz musicians.…”

mentioning

confidence: 98%

Unformed Sound in Multimedia Composition: Andrius Šarapovas’ Project Silver Dust

Duoblienė

2015

Žmogus Ir Žodis

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Summary. The paper is based on the Deleuzean concept of the deterritorialization of refrain, using unformed sound and an investigation into how it works in the multimedia project Silver Dust. The experimental video project created by Lithuanian artist Andrius Šarapovas is interdisciplinary, comprising of music, dance, and poetry. In the project, different art lines run separately, parallel or in different directions, are full of cracks, and at the same time create unity through the invisible links. Our question is: How does G. Deleuze and F. Guattari's mention of "raw sounds" in What is Philosophy? stimulate the appearance of the art's machine, vibration and clinches between the different art lines in the composition Silver Dust?Using Deleuzoguattarian concepts of crack and flesh, the arrangement of composition, the rearrangement of characters in art machine, and the acting of a dark precursor is analyzed. The conclusion is that A. Šarapovas tries to compound raw sound / noise, unexpectedly coming into music and poetry and the raw view in image (image behind the scene) and allows for their interconnection during the montage, opening up the conditions for vibrations and couplings between heterogeneous elements and division. Consequently, sounds are held as G. Deleuze and F. Guattari state, in their "extinction", "production and development" by the multimedia art machine.

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“…'s liner notes aver: "Their years of training at Oberlin, Juilliard, Berklee, Mannes, and the Manhattan School of Music behind them, the members of the quartet 28 Scholars have demonstrated how the African American literary and musical practice of signifyin(g), or repeating with a signal difference, has characterized African American artistic production for centuries, including most recently (in music) jazz, rap, sampling, and re-mix. See (Gates 2014(Gates [1988, Mackey 1998, Monson 1996, Walser 1995 st century Western culture as a "Re" culture with tributes, karaoke, re-issues, sampling, and rap dominating musical production (Plasketes 2010:12). But some musical copying is more influenced by Replay (see note 31) and some by "repeating with a signal difference," as well as other traditions of repetition, like those found in Zen Buddhism.…”

mentioning

confidence: 99%