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Performance and musical meaning: Ana...

Jackson, Travis Arnell.

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Performance and musical meaning: Analyzing "jazz" on the New York scene.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Performance and musical meaning: Analyzing "jazz" on the New York scene./
作者:	Jackson, Travis Arnell.
面頁冊數:	285 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-10, Section: A, page: 3690.
Contained By:	Dissertation Abstracts International59-10A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9910604
ISBN:	9780599089969

Performance and musical meaning: Analyzing "jazz" on the New York scene.
Jackson, Travis Arnell.

Performance and musical meaning: Analyzing "jazz" on the New York scene. - 285 p.

Source: Dissertation Abstracts International, Volume: 59-10, Section: A, page: 3690.

Thesis (Ph.D.)--Columbia University, 1998.

This dissertation is concerned with the way participants in musical events construct meaning. Through focusing on jazz musicians active in New York City, it explores negotiations and interpretations made by participants in different settings and the terms on which they are made. It questions the utility of previous approaches to musical analysis and musical meaning, particularly those that have relied heavily on concepts and procedures drawn from the study of Western concert music, psychology, philosophy, and semiotics.

ISBN: 9780599089969Subjects--Topical Terms:

1017604
American Studies.

Performance and musical meaning: Analyzing "jazz" on the New York scene.
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500 $a Sponsor: Daniel Ferguson.
502 $a Thesis (Ph.D.)--Columbia University, 1998.
520 $a This dissertation is concerned with the way participants in musical events construct meaning. Through focusing on jazz musicians active in New York City, it explores negotiations and interpretations made by participants in different settings and the terms on which they are made. It questions the utility of previous approaches to musical analysis and musical meaning, particularly those that have relied heavily on concepts and procedures drawn from the study of Western concert music, psychology, philosophy, and semiotics.
520 $a The data were obtained from eighteen months of fieldwork that included participant observation at "live" performances and recording sessions as well as interviews with musicians and other scene participants. Further data were gathered from study of the jazz publications and from freelance writing for record labels and music-related publications.
520 $a Drawing on ethnomusicology, cultural anthropology, and popular music studies, this dissertation aims to situate the analysis of jazz in the contexts that produce and support it by focusing on two related frames. The first is the jazz "scene," a socially constructed world in which various actors and institutions (musicians, audience members, educational institutions, performance venues, the recording industry, and critics and the media) interact in complex and shifting ways to enable the public presentation of jazz. The second frame is a set of shared normative and evaluative criteria regarding musical performance as articulated by musicians currently active on the scene. These criteria together comprise what this study terms a "blues aesthetic." This dissertation argues that the scene and the blues aesthetic frame jazz performance as ritualized activity oriented toward spirituality and taking the music to "the next level."
520 $a Six performances--three from recording sessions and three from nightclubs--are analyzed using the frames of the scene and the blues aesthetic. The analyses foreground the processual, interactive nature of performance. From them, this dissertation evolves a model of three cumulative levels of meaning in jazz performance. Each successive level entails deeper engagement with and understanding of the cultural and philosophical implications of the structure and process of jazz performance.
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