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'Uptown Conversation' asserts that jazz is not only a music to define, it is a culture. The essays illustrate how for more than a century jazz has initiated a call and response across art forms, geographies, and cultures, inspiring musicians, filmmakers,painters and poets.
Blending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species. What we all share with the professional improvisers known as "psychotherapists" and "jazz musicians" is the reality of not knowing what those around us—or even we ourselves—are going to do next. Rather than avoiding it, however, these practitioners have learned to revere our inherent unpredictability as precisely the feature of human living that makes transformative change possible, fully incorporating it into the theories and practices that constitute their disciplines. Jazz and Psychotherapy provides a sophisticated but accessible overview of the revolutionary approaches to human development and creative expression embodied in these two seemingly disparate twentieth-century cultural traditions. Readers interested in music, psychotherapy, social psychology and contemporary theories of complexity will find Jazz and Psychotherapy engaging and useful. Its colorful synthesis of perspectives and multidimensional scope make it an essential contribution to our understanding of improvisation in music and in life.
The New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. Loft Jazz provides the first book-length study of this period, tracing its history amid a series of overlapping discourses surrounding collectivism, urban renewal, experimentalist aesthetics, underground archives, and the radical politics of self-determination.
Issues in African American Music: Power, Gender, Race, Representation is a collection of twenty-one essays by leading scholars, surveying vital themes in the history of African American music. Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their communities. Revised and expanded to reflect the latest scholarship, with six all-new essays, this book both complements the previously published volume African American Music: An Introduction and stands on its own. Each chapter features a discography of recommended listening for further study. From the antebellum period to the present, and from classical music to hip hop, this wide-ranging volume provides a nuanced introduction for students and anyone seeking to understand the history, social context, and cultural impact of African American music.
Challenging the critique of autoethnography as overly focused on the self, Tami Spry calls for a performative autoethnography that both unsettles the "I" and represents the Other with equal commitment. Expanding on her popular book Body, Paper, Stage, Spry uses a variety of examples, literary forms, and theoretical traditions to reframe this research method as transgressive, liberatory, and decolonizing for both self and Other. Her book draws on her own autoethnographic work with jazz musicians, shamans, and other groups; outlines a utopian performative methodology to spur hope and transformation; provides concrete guidance on how to implement this innovative methodological approach.
"Bivins explores the relationship between American religion and American music, and the places where religion and jazz have overlapped" --Dust jacket flap.
The variety in contemporary philosophical and aesthetic thinking as well as in scientific and experimental research on complexity has not yet been fully adopted by narratology. By integrating cutting-edge approaches, this volume takes a step toward filling this gap and establishing interdisciplinary narrative research on complexity. Narrative Complexity provides a framework for a more complex and nuanced study of narrative and explores the experience of narrative complexity in terms of cognitive processing, affect, and mind and body engagement. Bringing together leading international scholars from a range of disciplines, this volume combines analytical effort and conceptual insight in order to relate more effectively our theories of narrative representation and complexities of intelligent behavior. This collection engages important questions on how narrative complexity functions as an agent of cultural evolution, how our understanding of narrative complexity can be extended in light of new research in the social sciences and humanities, how interactive media produce new types of narrative complexity, and how the role of embodiment as a factor of narrative complexity acquires prominence in cognitive science and media studies. The contributors explore narrative complexity transmitted through various semiotic channels, embedded in multiple contexts, and experienced across different media, including film, comics, music, interactive apps, audiowalks, and ambient literature.
Between Beats: The Jazz Tradition and Black Vernacular Dance offers a new look at the complex intersections between jazz music and popular dance over the last hundred-plus years. Author Christi Jay Wells shows how popular entertainment and cultures of social dancing were crucial to jazz music's formation and development even as jazz music came to earn a reputation as a "legitimate" art form better suited for still, seated listening. Through the concept of choreographies of listening, the book explores amateur and professional jazz dancers' relationships with jazz music and musicians as jazz's soundscapes and choreoscapes were forged through close contact and mutual creative exchange. It also unpacks the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. Fusing little-discussed material from diverse historical and contemporary sources with the author's own years of experience as a social jazz dancer, it advances participatory dance and embodied practice as central topics of analysis in jazz studies. As it explores the fascinating history of jazz as popular dance music, it exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to "elevate" expressive forms such as jazz to elite status.
Forging new ideas about the relationship between race and sound, Furlonge explores how black artists--including well-known figures such as writers Ralph Ellison and Zora Neale Hurston, and singers Bettye LaVette and Aretha Franklin, among others--imagine listening. Drawing from a multimedia archive, Furlonge examines how many of the texts call on readers to "listen in print." In the process, she gives us a new way to read and interpret these canonical, aurally inflected texts, and demonstrates how listening allows us to engage with the sonic lives of difference as readers, thinkers, and citizens.
Hearing across media is the source of innovation in a uniquely African American sphere of art-making and performance, Brent Hayes Edwards writes. He explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves.