UPSI Digital Repository (UDRep)
|
UPSI Digital Repository (UDRep)
|
|
|
|
||||||||||||||||||||||||||
| Abstract : Perpustakaan Tuanku Bainun |
| Scott Simon (2008) describes jazz improvisation as an act of _reproduction of music_, _reinterpretation of compositions_, and _quotations of melodies_, while Paul Berliner (1994) puts it as _reworking precomposed material_. In contrast, Lee Brown highlights the spirit of _non conformism_ embedded in jazz playing, so that the musical outcome of jazz is _unanticipated_, and _nondeterministic_ (Brown, 2000). In 2012, I proposed _heteronomy_ as one of the defining features of jazz. How would these characters of jazz appear in the light of John Cage_s thoughts? If jazz is an art of quoting rather than creating, then that it was a genre of _distaste_ to Cage becomes understandable. Cage_s relationship to jazz and/or improvisation is more than a mild rejection. Sabine Feisst (2009) refers to it as an _unresolved relationship_, while for Rebecca Kim (2012) there is a _separate togetherness_ between Cage and jazz. In coaching Malaysian students to embrace jazz, needs arise for a clear understanding of what is the nature of jazz. In this paper, I discuss the meaning of _newness_ in jazz, by tracing several issues that crisscross over Cage_s thoughts about jazz. Do musicians seek _newness_ in jazz? I argue that _newness_ is more relevant in the process of a jazz performance compared to its outcome. Nevertheless, Cage_s thoughts could inspire further pondering of what jazz is (not), and what jazz can (not) become. Keywords newness, jazz, improvisation, John Cage, performance process |
| References |
Aebersold, J. (2012). How to play jazz and improvise. Louisville, KY: Aebersold Publishing.
Benson, B. E. (2006). The fundamental heteronomy of jazz improvisation. Revue internationale de philosophie, 4(238), 453-467.
Block, S. (1997). “Bemsha Swing”: The transformation of a Bebop classic to free jazz. Music Theory Spectrum, 19(2), 206-231.
Brown, L. B. (2000). “Feeling my way”: Jazz improvisation and its vicissitudes - A plea for imperfection. The Journal of Aesthetics and Art Criticism, 58(2), 113-123.
Chan, C. J. (2012). My jazz lecture note: The social meaning of the act of improvisation by Malaysian college students. In G. Jeahnichen & J. Chieng (Eds.), Music and Memory. Serdang: UPM Press.
Chan, C. J. (2013). Heteronomy nature of jazz and its audience attachment. In G. Jähnichen & J. Chieng (Eds.), Music and Dance in Environment. Serdang: UPM Press.
Day, W. (2000). Knowing as instancing: Jazz improvisation and moral perfection. The Journal of Aesthetics and Art Criticism, 58(2), 99-111.
Emerson, R. W. (2001) Essays. [Originally published in 1841] Electronic Classics Series. Hazleton: Pennsylvania State University, 26-49. Retrieved 1 November 2012 from http://www2.hn.psu.edu/faculty/jmanis/rwemerson/essays_rwe.pdf
Feisst, S. M. (2009). John Cage and improvisation: An unresolved relationship. In G. Solis & B. Nettl (Eds.) Musical Improvisation: Art, Education and Society (pp.38-51). Chicago: University of Illinois Press.
Fraser, W. (1983). Jazzology: A study of the tradition in which jazz musicians learn to improvise. Ph.D. Dissertation. University of Pennsylvania. 1983. Ann Arbor, MI: UMI, 1984, DAI-A 44/12. 3768.
Groves, J. R. (2006). Daoism, freedom and jazz improvisation: A rational reconstruction of Chuang Tzu’s Cook Ting Passage. Interdisciplinary Humanities, 23(2), 99-108.
Hamm, C. (1997). Privileging the moment: Cage, Jung, synchronicity, postmodernism. The Journal of Musicology 15(2), 278-289. DOI:119.40.120.196. Accessed 08 August, 2013.
Jähnichen, G. (2010). Jazz in Kuala Lumpur. Jazz Research Journal 4(2), 141-170. Johnson-Laird, P. N. (2002). How jazz musicians improvise. Music Perception: An Interdisciplinary Journal, 19(3), 415-442.
Kant, I. (2010). The critique of practical reason [Kritik der praktischen Vernunft]. (T. K. Abbott, Trans.) Electronic Classics Series. Hazleton: Pennsylvania State University, p.33 (Original work published 1788). Retrieved 1 November 2012 from http://www2.hn.psu.edu/faculty/ jmanis/kant/Critique-Pure-Reason.pdf
Kim, R. Y. (2012). John Cage in separate togetherness with jazz. Contemporary Music Review 31(1), 63-89. DOI: 10.1080/07494467.2012.712284. Accessed 8 August 2013.
Komara, E. (2008). Interaction, improvisation, and interplay in jazz [Review]. Notes, 64(3), 518-521.
Kutschke, B. (1999). Improvisation: An always-accessible instrument of innovation. Perspectives of New Music 37(2), 147-162. Retrieved 8 August 2013 from http://www. jstor.org/stable/833513
Pilc, J. (2012). How to improvise lessons [DVD]: True jazz improvisation exercises. Brooklyn: Jazz Heaven.
Pressing, J. (1984). Cognitive processes in improvisation. In W.R. Crozier and A.J. Chapman (Eds), Cognitive processes in the perception of art. Amsterdam: Elsevier Science Publisher, pp.345-363.
Sargeant, W. (1975). Jazz, hot and hybrid. New York, NY: Da Capo Press. Schoenberg, A. (1984). Style and idea: Selecting writings of Arnold Schoenberg. Ed. L. Stein. California: University of California Press, 113-123
Simon, S. J. (2008). Antecedents of digital reproduction in jazz improvisation. Leonardo Music Journal,18, 41-42.
Spiller, R. E., Ferguson, A. R. et al. (Eds.). (1971). The collected works of Ralph Waldo Emerson, Vol 2. (pp. 207-218). Cambridge: Belknap Press of Harvard University Press.
Zack, M. H. (2000). Jazz improvisation and organizing: Once more from the top. Organization Science, 11(2), 227-234. |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |