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  1. Two Concepts of Groove: Musical Nuances, Rhythm, and Genre.Evan Malone - 2022 - Journal of Aesthetics and Art Criticism 80 (3):345-354.
    Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...)
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  2. The Philosopher's Bass Drum: Adorno's Jazz and the Politics of Rhythm.Maya Kronfeld - 2019 - Radical Philosophy 2 (5):34-47.
    The philosophical significance of rhythm in the United States has been undermined from both sides of what Adorno and Horkheimer called the ‘dialectic of enlightenment’. When rhythm has not been falsely exalted, promising a fetishised, racialised ‘return’ to the body, it has been devalued through the tainted associations of rhythmic synchronisation with fascist regimes and the demand for compliance. In this article, I engage these issues as they inflect the politics of musical form. Adorno’s notorious critique of jazz – developed (...)
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  3. Group Flow.Tom Cochrane - 2017 - In Micheline Lesaffre, Pieter-Jan Maes & Marc Leman (eds.), The Routledge Companion of Embodied Music Interaction. Routledge. pp. 133-140.
    In this chapter I analyse group flow: a state in which performers report intense interpersonal absorption with the music and each other. I compare group flow to individual flow, and argue that the same essential structure can be discerned. I argue that group flow does not justify an anti-representationalist enactivist interpretation. However, I claim that the cognitive task in which the music is produced is irreducibly collective.
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  4. Playin(g) Iterability and Iteratin(g) Play : Tradition and Innovation in Jazz Standards.Francesco Paradiso - 2017 - Epistrophy 2.
    This study draws a comparative framework between deconstructive reading of texts and jazz standards. It will be argued that both are defined by the constant play of tradition and innovation. On the one hand, the repetition of a set of rules and dominant understanding of texts/tunes that generates tradition. On the other hand, invention and improvisation that take on that tradition and generate innovation. The act of reading/playing becomes also an act of invention/improvisation that manifests a constant tension between the (...)
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  5. Kind of Borrowed, Kind of Blue.P. D. Magnus - 2016 - Journal of Aesthetics and Art Criticism 74 (2):179-185.
    In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.
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  6. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  7. Expression and Extended Cognition.Tom Cochrane - 2008 - Journal of Aesthetics and Art Criticism 66 (4):59-73.
    I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.
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  8. Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, (...)
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  9. Ecological Humanism: A Moral Image for Our Emotive Culture.Steven Fesmire - 2001 - The Humanist 61 (1):27-30.
    Anglo-Americans tend to see themselves as isolated individuals who recognize that their self-interest requires them to cooperate and thus submit to moral rules or moral authorities as long as others agree to do the same. But this picture fails to acknowledge a deeper interconnectedness to the persons and places we live with, and so it fails to sustain an understanding of why our social and natural ecology is important to our flourishing. Fesmire advocates that we cultivate metaphors that more accurately (...)
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  10. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...)
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  11. Nietzsche, Democracy, and Excellence: Politics as Jazz.Lawrence J. Hatab - 2000 - International Studies in Philosophy 32 (3):39-50.
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