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Looking for the Band: Walter Benjamin and the Mechanical Reproduction of Jazz
Band Jazz Walter Benjamin
2008/10/28
Using Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction” as a template, this paper examines the impact of recording technology and the recording industry on the developmen...
“I Feel My True Colors Began to Show.” Designing and Teaching a Course on Improvisation
Improvisation pedagogical considerations
2008/10/28
This article discusses my design and teaching of an interdisciplinary, multi-style course "Improvisation in Music". It discusses fundamental considerations on improvisation and a variety of pedagogica...
Schooling the future: Perceptions of Selected Experts on Jazz Education
Schooling the future Jazz Education Perceptions
2008/10/28
Aspects of both the functionalist and interactionist schools in sociology consider formal education as a form of social reproduction. Despite the large number of students that participate in school ja...
The Pedagogical Imperative of Musical Improvisation
Pedagogical Imperative Musical Improvisation
2008/10/28
This essay responds to the twinned questions, "How do musicians learn to improvise?" and "What skills are they learning as they are doing so?" The pedagogical theory that is the outcome essentially re...
McLean's Scene: Jackie McLean as Improviser, Educator and Activist
Improviser Activist Educator McLean's Scene
2008/10/28
In a musical career spanning nearly sixty years, the alto saxophonist and composer Jackie McLean (1931-2006) developed a model of collaborative and socially engaged pedagogy that was to prove enormous...
Award-winning Chicago-based flutist Nicole Mitchell has made a huge mark on the international jazz and creative improvised music scenes in recent years, not only for her vibrant improvisations, but fo...
Itutu ("On how to appropriately present oneself to others"): Extra-musical pedagogical values of creative music
Extra-musical pedagogical values creative music
2008/10/27
Pierre Carsalade, Romain Tesler and Alexandre Pierrepont have assembled their observations on the workshops led by Cooper-Moore and William Parker that took place in the context of the Actions musical...
Steps Against Forgetfulness (Six of Them)
Mexican political social history jazz musicians Six of Them
2008/10/27
In this poetical meditation, Alain Derbez articulates links between significant moments in Mexican political and social history, and significant Mexican jazz musicians.
Pitch into Time: Notes on Anthony Braxton’s Lower Register
Anthony Braxton contra-bass saxophone Pitch into Time tuba ensembles
2008/10/27
"Pitch into TIme" is a brief note on Anthony Braxton's use of extreme low registers such as tuba ensembles and contra-bass saxophone; a more general fascination with the destructive powers of sub-soni...
Anthony Braxton gave the keynote address at the 2007 Guelph Jazz Festival and kindly let us video record it. Here we offer the streaming video (including many audio examples) along with an edited tran...
The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education
Improvisation Jazz Education
2008/10/27
Jacques Attali writes that music can serve to “invent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those...
From the Margins to the Mainstream: Jazz, Social Relations, and Discourses of Value
Mainstream Jazz Social Relations Discourses of Value
2008/10/27
This paper examines the manner in which particular discourses have served to shape and influence broader social understandings of various forms of contemporary jazz and improvised music, exploring the...
“What I Call a Sound”: Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers
Anthony Braxton Notations Synaesthetic Ideal Improvisers
2008/10/27
In this article I look at some of the visual elements in Anthony Braxton’s music and examine how he uses graphic and symbolic notations in particular to initiate fresh approaches to improvisation.
在高等音乐教育体系中，以统称“四大件”的《和声学》、《对位法》、《曲式学》以及《配器法》为核心构架的作曲技术理论教学，可以大致分为三类：第一类是作为专业（主）课的作曲技术理论教学，教学对象主要为作曲技术理论各专业方向的博士、硕士研究生 [①]，他们以作曲技术理论中某一个方向为专攻，兼修相关方向或课程作为专业学习的基础与辅助；第二类是作为专业基础课的作曲技术理论教学，教学对象主要为作曲专业及相关专业...