Artistic Research in Jazz
Positions, Theories, Methods
- Available for pre-order. Item will ship after July 16, 2021
This book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding the theoretical, methodological, and analytic perspectives in the field of artistic practice-as-research.
This edited collection presents an in-depth discourse on shared and specific approaches to practice-as-research in jazz and popular music. A panel of eleven international contributors provide an understanding of the specificity of current practice in jazz and popular music, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors.
In thinking outside established theoretical frameworks, this book invites further exploration and participation, and encourages practitioners, scholars, students and teachers at all academic levels to shape the future of jazz research collectively. It will be of interest to students in jazz and popular music studies, performance studies, improvisation studies, music philosophy, music aesthetics, and Western art music research.
Table of Contents
Artistic Research in Jazz: An Introduction
Part I: Improvisation, Theory and History
1. Improvising Artistic Research
2. Improvising Touch: Musical Improvisation Considered as a Tactile Practice
3. Mapping Jazz’s Affect: Implications for Music Theory and Analysis
4. Artistic Research in Jazz: Historical Contexts
Part II: Institutional and Pedagogical Considerations
5. Wordplay: Negotiating the Conservatory ‘Culture Clash’
Petter Frost Fadnes
6. The Lessons of Jazz: What We Teach When We Teach Jazz in College
7. It Don’t Mean a Thing Without My Web Fan Base Thing: A Dance of Cultural Relevancy in Jazz Education Culture Today
William C. Banfield
Part III: Specific Projects
8. Silent Groove, Frames and Applied Improvisation in Miles Davis’ "Shhh/Peaceful" and austraLYSIS’ "Silent Waves": Practice-led Research Beckons to Research-led Practice
Roger T. Dean
9. Analysis and Observations of Pre-learnt and Idiosyncratic Elements in Improvisation: A Methodology for Artistic Research in Jazz
Robert L. Burke
10. Articulating Musical Practice and Research: Notes on a South African Recording Project
11. Embodied Hope: An Empathically Creative Approach to Contemporary Jazz
Michael Kahr is Senior Lecturer at the Institute for Jazz at the University of Music and Performing Arts Graz, Austria as well as Dean of Music Faculty and Head of Master Studies at the Jam Music Lab University in Vienna, Austria.