Jazz Education in Research and Practice最新文献_第5页

Jazz Historiography, Eurocentric Philosophy, and the Problem of Hegel and Aristotle 爵士史学，欧洲中心哲学，以及黑格尔和亚里士多德的问题

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.06

L. Caplan

{"title":"Jazz Historiography, Eurocentric Philosophy, and the Problem of Hegel and Aristotle","authors":"L. Caplan","doi":"10.2979/jazzeducrese.3.1.06","DOIUrl":"https://doi.org/10.2979/jazzeducrese.3.1.06","url":null,"abstract":"Abstract:As universities publicly address their continuing commitment to anti-racism, diversity, and multiculturalism both on campus and in the classroom, it is critical to explore how writing in our disciplines reproduced/reinforced White racist and sexist hierarchies. Rather than diversity statements functioning as performative speech acts (Ahmed, 2006), these statements could serve as a call to action to investigate how racism/sexism/classism operate in our disciplines during their inception. By looking at early jazz writing, we observe White racist/sexist paradigms and how Eurocentric logic justified these social maladies. Even in jazz history accounts that celebrate Black genius, it is through the problematic discourse of evolution, high art, and teleology that grants these accounts their social prestige (DeVeaux, 1991). Additionally, investigating the boundaries of Eurocentric paradigms in jazz historiography improves our theoretical conceptions and offers ways to move forward and address these problematic issues that persist. This study presents a methodology for jazz educators to explore the limitations of Eurocentric knowledge in jazz settings through a case study on Aristotelian/Hegelian logic formulation in jazz historiography. I demonstrate that Aristotelian/Hegelian reasoning and White racism/sexism produced reductive exclusionary definitions in early jazz writing. To make this argument, I turn to Aristotelian syllogisms and teleology and Hegel's \"ideal\" subject. Alongside illustrating a methodology for bringing Western philosophy into dialogue with jazz historiography in classroom settings, I then present concluding remarks toward extending theoretical work by proposing to flip subject-object epistemological relations in European philosophical discourse.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"182 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114672730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mary Lou Williams and the Role of Gender in Jazz: How Can Jazz Culture Respect Women's Voices and Break Down Barriers for Women in Jazz while Simultaneously Acknowledging Uncomfortable Histories? 玛丽·卢·威廉姆斯和性别在爵士乐中的作用:爵士乐文化如何尊重女性的声音，打破爵士乐中女性的障碍，同时承认不愉快的历史?

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.03

Josiah Boornazian

{"title":"Mary Lou Williams and the Role of Gender in Jazz: How Can Jazz Culture Respect Women's Voices and Break Down Barriers for Women in Jazz while Simultaneously Acknowledging Uncomfortable Histories?","authors":"Josiah Boornazian","doi":"10.2979/jazzeducrese.3.1.03","DOIUrl":"https://doi.org/10.2979/jazzeducrese.3.1.03","url":null,"abstract":"Abstract:Since at least the 1940s, jazz musicians, scholars, journalists, and historians have expressed ambivalent and sometimes contradictory attitudes toward pianist, composer, and educator Mary Lou Williams. Though she undeniably experienced significant hardships throughout her career at least in part due to gender-based discrimination, Williams has also been recognized and celebrated as an important figure in jazz history in a variety of ways since at least the 1970s. Recent scholarly and mainstream discourses dedicated to Williams reveal an apparent widespread tendency within jazz culture to celebrate the pianist as a noteworthy historical figure at least in part due to her gender, and some institutions such as Jazz at Lincoln Center have tried to demonstrate that jazz culture reflects certain currently prevalent progressive values, namely diversity, equity, and inclusion. Such narratives encounter the problem that jazz culture has historically been a male-dominated field that has rarely treated its female practitioners equitably. The contradictions between the apparent facts of jazz history and more recent narratives celebrating the contributions of women such as Williams raise important and potentially uncomfortable historiographical and ethical questions for the jazz community. This article suggests that practical trial-and-error efforts aimed at actively engaging more women performers in jazz culture might be more promising projects for institutions as opposed to investing resources in continuously attempting to revise narratives about the role of women in jazz history, regardless of whether the aim of historical analysis is to point out past sexism or to try to obfuscate it or atone for it.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"99 13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130643824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Teaching Jazz, Teaching Justice, and the Blackness of Don Cherry's Global Communion 教授爵士，教授正义，以及唐·切里全球共融的黑暗

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.04

P. Roth

引用次数: 0

Treatments of the ii-V7-I Chord Progression in Jazz Improvisation: An Analysis of Phrases Used by Hank Mobley, John Coltrane, Sonny Rollins, and Dexter Gordon 处理ii-V7-I和弦进程在爵士即兴演奏:汉克莫布利，约翰科尔特兰，桑尼罗林斯和德克斯特戈登使用的短语的分析

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.09

David Detweiler

引用次数: 0

Melodic Rhythms and Intervals in Selected Works of Jerry Bergonzi 杰里·伯冈兹作品选集的旋律节奏与音程

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.05

Benjamin Nichols

引用次数: 0

Connections between Speech Acquisition and the Jazz Language 语言习得与爵士语言之间的联系

Jazz Education in Research and Practice Pub Date : 2021-12-01 DOI: 10.2979/jazzeducrese.3.1.08

Patrick Brown

引用次数: 0

The Jazz Rhythm Section: A Manual for Band Directors by Fumi Tomita (review) 爵士节奏部分:乐队指挥手册富美富田(评论)

Jazz Education in Research and Practice Pub Date : 2020-12-01 DOI: 10.2979/jazzeducrese.2.1.19

Russ Spiegel

引用次数: 0

Rehearsing the Jazz Band, Edited by Mary Jo Papich and Ryan Adams 排练爵士乐队，编辑玛丽乔帕维奇和瑞安亚当斯

Jazz Education in Research and Practice Pub Date : 2020-12-01 DOI: 10.2979/jazzeducrese.2.1.17

B. Casey

引用次数: 0

Fellowship and Jazz2U Handout 奖学金和Jazz2U讲义

Jazz Education in Research and Practice Pub Date : 1900-01-01 DOI: 10.2979/jazzeducrese.1.1.02

引用次数: 0

Back Matter 回到问题

Jazz Education in Research and Practice Pub Date : 1900-01-01 DOI: 10.2979/jazzeducrese.2.1.bm

引用次数: 0