What is jazz? How does it differ from other kinds of music? To what extent is it an important subject for thinking about aesthetic questions? Philosophy of Jazz is among the first book-length philosophical discussions devoted to jazz. Daniel Martin Feige explores the relationship between jazz and European art music, arguing that in jazz central aspects of musical practice are made explicit, aspects that remain implicit in the tradition of European art music but nevertheless inform their practice. He develops the idea that interpretations of works and improvisations share a central common feature: It is the musical performance that clarifies the meaning of the music. A musical performance acquires its identity against the background of a tradition of performances, and as embodied tradition, improvisations as well as interpretations are part of an ongoing musical as well as historical dialogue. Using jazz to expand the vocabulary of art theory, this book reflects on how philosophy should take up objects of cultural and aesthetic concern.

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman’s allographic/autographic distinction, Adorno’s critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book’s commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.

The book explores Africana existentialism in relation to issues of race, identity, liberation, freedom, alienation, responsibility and bad faith and includes key essays from More's corpus alongside his philosophical memoir.

In some forty interviews with saxophonists, pianists, singers, composers, and string, brass, and rhythm players, Stokes illuminates the lives of the artists and the sheer pleasure of the sounds they create. Stokes paints a vivid portrait of jazz musicians ... that range across the globe. Introductions to vaudeville stars, blues musicians, and women instrumentalists. Covers a broad spectrum, including conversations with legendary veterans, like Jackie McLean and Louie Bellson, to such rising stars as Diana Krall, Cyrus Chestnut, Ingrid Jensen, and violinist Regina Carter.-Derived from book cover.

Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.

Selected Work of F. Scott Fitzgerald (Flappers and Philosophers/ Tales of the Jazz Age/ Superhit Stories of F. Scott Fitzgerald) (Set of 3 Books) Vol-2 by F. Scott Fitzgerald: Flappers and Philosophers: Dive into the fascinating world of the roaring twenties with F. Scott Fitzgerald's "Flappers and Philosophers." This collection of short stories presents a vivid portrayal of the Jazz Age, exploring the lives and aspirations of young men and women seeking love, adventure, and meaning in a rapidly changing society. Tales of the Jazz Age: Experience the glitz and glamour of the Jazz Age through F. Scott Fitzgerald's captivating stories. From opulent parties to tangled love affairs, this collection encapsulates the spirit and excitement of an era defined by its decadence and cultural dynamism. Superhit Stories of F. Scott Fitzgerald: Delight in F. Scott Fitzgerald's masterful storytelling with this selection of his superhit stories. From the iconic "The Great Gatsby" to other beloved tales, this volume showcases Fitzgerald's brilliance in capturing the essence of the American dream and the human condition. This set of three books by F. Scott Fitzgerald takes readers on a captivating journey through the vibrant and turbulent Jazz Age. Fitzgerald's evocative prose, complex characters, and sharp social commentary continue to resonate with readers and offer timeless insights into the human experience. Whether you are a devoted fan of Fitzgerald's works or exploring his writings for the first time, this collection promises to enchant and immerse you in the allure of the 1920s. Experience the charm and allure of the Jazz Age through the pages of "Flappers and Philosophers," "Tales of the Jazz Age," and "Superhit Stories of F. Scott Fitzgerald."

This volume offers key insights into the crisis of legitimization that music as a subject of arts education seems to be in. Music as an educational subject is under intense pressure, both economically, due to the reduction of education budgets, as well as due to a loss of status with policy makers. The contributions in this book illuminate Martin Heidegger’s thinking as a highly cogent theoretical framework for understanding the nature and depth of this crisis. The contributors explore from various angles the relationship between the pressure on music education and the foundations of our technical and rationalized modern society and lead the way on the indispensable first steps towards reconnecting the cultural practices of education with music and its valuable contributions to personal development.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Jimoh (English, U. of Arkansas-Fayetteville) investigates African American intracultural issues that inform a more broadly intertextual use of music in creating characters and themes in fiction by US black writers. Conventional close readings of texts, she argues, often miss historical-sociopolitical discourses that can illuminate African American narratives. Annotation copyrighted by Book News, Inc., Portland, OR