Storytelling in jazz improvisation: implications of a rich intermedial metaphor
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Lund
Lund University, Malmö Academy of Music
[2014]
|
| Schriftenreihe: | Studies in music and music education
17 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 379 Seiten 24 cm |
| ISBN: | 9789198134438 |
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Datensatz im Suchindex
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| adam_text | Contents
Preface 11
Chapter 1. Introduction 13
1.1. Conceptualizing an art form 14
1.2. Structure of the thesis 25
Chapter 2. Jazz improvisation and storytelling: Previous writings 27
2.1. The field of investigation: Jazz improvisation 28
2.1.1. Idiomaticity 31
2.1.2. Tradition versus freedom 33
2.1.3. Playing jazz 35
2.2. Storytelling in the field of jazz improvisation: Previous writings 36
2.2.1. Storytelling in jazz studies 37
2.2.2. A role model: Lester Young 40
2.2.3. Coherence 43
2.2.4. Drawing on experience 47
2.2.5. Signifyin(g) 49
2.2.6. Musical self-reflectivity 51
2.2.7. Conversation 53
2.2.8. Linearity and temporality 56
2.2.9. Sound and embodiment 62
2.2.10. The need for a pedagogy of jazz improvisational storytelling 64
2.2.11. Metaphoricity 64
2.3. Aim of study and research questions 68
Chapter 3. Theoretical framework 69
3.1. Theories of narrativity 71
3.1.1. Paul Ricoeur s theory of narrative 72
3.1.2. Theories of musical narrativity 75
3.1.3. The applicability to the present study of perspectives on
music and narrativity 93
3.1.4. African American rhetorical practices in jazz improvisation 99
3.2. Intermedial use of concepts 111
3.2.1. The voice in the text 112
3.2.2. The music in the picture 113
3.2.3. The rhyme in the picture 114
3.2.4. Musicality in spoken theatre 114
3.2.5. A model and a classification of intermedial relations 115
3.3. Fictions, metaphors, and conceptual blending 117
3.3.1. Fictions (Hans Vaihinger) 117
3.3.2. The substitution view of metaphor 118
3.3.3. The discursive view of metaphor (I. A. Richards) 119
3.3.4. The interaction view of metaphor (Max Black) 119
3.3.5. The tension view of metaphor (Paul Ricoeur) 120
3.3.6. Conceptual metaphors (George Lakoff and Mark Johnson) 122
3.3.7. Conceptual blending (Gilles Fauconnier and Mark Turner) 124
3.3.8. Conceptual metaphor in the field of music
(Michael Spitzer and Christian Thorau) 126
3.3.9. Conceptual blending in the field of music
(Lawrence M. Zbikowski and Ole Kiihl) 128
3.3.10. Landscapes of metaphor 132
3.3.11. Metaphors, etc. as educational tools 133
3.3.12. Concluding remarks on the applicability of metaphor theories 134
3.4. Learning how to improvise 138
3.4.1. Situated cognition and legitimate peripheral participation 139
3.4.2. Ecological perspectives on perception, music, and musical learning 140
3.4.3. Stealing knowledge 142
3.4.4. Landscapes of learning 151
3.5 Perspectives on the worlds of jazz music and jazz education 154
3.5.1. Cultural capital, field, and habitus 155
3.5.2. Discursive construction of society and of musical authenticity 158
3.5.3. Discourse analysis 165
3.5.4. Sociological analyses of worlds of music and education 168
3.6. Summary: Remarks on selection and consistency of theoretical
perspectives 172
Chapter 4. Methodology, method, design, and analysis 175
4.1. Methodological considerations 175
4.1.1. Interpreting expressions of lived experience (Dilthey) 176
4.1.2. Man as a hermeneutic creature (Gadamer) 178
4.1.3. Understanding as seeing connections (Wittgenstein) 180
4.1.4. The hermeneutical circle: The impotence of being logical,
the importance of being intuitive 180
4.1.5. Aspects and themes of interpretive processes 181
4.1.6. Criteria for understanding 184
4.1.7. Life, research, and improvisation 186
4.1.8. Pre-understanding, contexts, and interview dynamics 186
4.1.9. Concluding remarks 194
4.2. Method and design of the studies 195
4.3. Analysis 198
4.4. Quality and relevance 200
Chapter 5. Results: Storytelling in jazz improvisation 205
5.1. Storytelling in jazz improvisation: A description of jazz improvisation 205
5.1.1. Adequacy of description 206
5.1.2. The notion of non-storytelling jazz improvisation 222
5.1.3. Music and language; the unspeakable 225
5.1.4. Qualities pertaining to storytelling 229
5.2. Storytelling in jazz improvisation: The threefold now 238
5.2.1. Préfiguration 239
5.2.2. Configuration 252
5.2.3. Refiguration 280
5.3. Storytelling in jazz improvisation: Educational implications 284
5.3.1. Education in jazz improvisation: General considerations 284
5.3.2. Education in jazz improvisation: Methodology 295
5.4. Storytelling in jazz improvisation: Summary 300
Chapter 6. Discussion: Theoretical, artistic, educational, and sociological
implications of the storytelling metaphor 301
6.1. Rich intermedial metaphoricity 302
6.1.1. Intermediality on a conceptual level 304
6.1.2. Bidirectionality 305
6.2. The jazz storyteller 308
6.2.1. Narrativization 310
6.2.2. Cultural competence 314
6.2.3. Musical patterns 315
6.2.4. The notion of a Scandinavian storytelling mode 317
6.2.5. Telling it NOW 324
6.3. Storytelling landscapes 329
6.3.1. Landscape of metaphor 330
6.3.2. Landscape of learning 332
6.4. Storytelling as counterdiscourse 338
6.4.1. A battle of generations 340
6.4.2. Autodidacticism vs. educationalism 341
6.4.3. Heterodoxy vs. orthodoxy 342
6.4.4. Genuinity vs. proficiency 344
6.4.5. Concluding remarks on sociological implications of the storytelling
metaphor 344
6.5. Concluding remarks on theoretical, artistic, educational, and
sociological implications 345
Chapter 7. Further research 347
7.1. Further research regarding theoretical issues 349
7.1.1. Expansion of time-based categorization to other kinds of artistic
practice and thought 349
7.1.2. Explorations of rich intermedial metaphoricity in other art forms 350
7.1.3. Storytelling in jazz improvisation and musicality in spoken theatre
- ’Mirror reflectivity’ in the arts 350
7.2. Future research focused on artistic issues 351
7.2.1. Further studies of narrativization and temporality 351
7.2.2. Jazz improvisation in different cultural contexts 352
7.2.3. Expansion of issues to other art forms 352
7.3. Further exploration of educational perspectives 353
7.3.1. Expansion to other art forms 353
7.3.2. Jazz educational implications - an in-depth exploration 354
7.4. Further exploration of sociological implications 355
Chapter 8. Concluding remarks 357
References
359
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| spelling | Bjerstedt, Sven 1962- Verfasser (DE-588)1111043221 aut Storytelling in jazz improvisation implications of a rich intermedial metaphor Sven Bjerstedt Lund Lund University, Malmö Academy of Music [2014] 379 Seiten 24 cm txt rdacontent n rdamedia nc rdacarrier Studies in music and music education 17 Dissertation Lunds universitet 2014 Improvisation (DE-588)4127993-1 gnd rswk-swf Jazz (DE-588)4028532-7 gnd rswk-swf Narrativität (DE-588)4379691-6 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Jazz (DE-588)4028532-7 s Improvisation (DE-588)4127993-1 s Narrativität (DE-588)4379691-6 s DE-604 Musikhögskolan i Malmö Sonstige (DE-588)16156356-9 oth Studies in music and music education 17 (DE-604)BV017643312 17 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029126562&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Storytelling in jazz improvisation implications of a rich intermedial metaphor |
| title_auth | Storytelling in jazz improvisation implications of a rich intermedial metaphor |
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| title_full | Storytelling in jazz improvisation implications of a rich intermedial metaphor Sven Bjerstedt |
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| title_short | Storytelling in jazz improvisation |
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| title_sub | implications of a rich intermedial metaphor |
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