1,720,984 research outputs found
Framing jazz: thoughts on representation and embodiment
Get PDFAbstract: Audiovisual representations of jazz performances provide us with more information than audio recordings. The camera not only allows us access to music performances, it also constructs vantage points by framing its subjects in specific ways. This chapter explores aspects of representation and embodiment in jazz performance on film. By looking at filmic technique through shot composition, levels of close-up, focus, and so on, the chapter examines how filmic representation works to mediate the way in which viewers are directed to gaze at and understand performances. Beginning with some examples of Hollywood “Soundies” (including a film of the Jimmy Dorsey Orchestra) and moving to documentary-style films of jazz performance (including examples by Chet Baker and Jim Hall), this chapter shows how filmic techniques and production can serve to highlight musical hierarchies and relationships, providing a kind of commentary on the music
Watching jazz: Encounters with jazz performance on screen
No full textWatching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on screen media. Where earlier studies have focused almost entirely on the role and portrayal of jazz in Hollywood film, the present book engages with a plethora of technologies and media from early film and soundies through television to recent developments in digital technologies and online media. Likewise, the authors discuss jazz in the widest sense, ranging from Duke Ellington and Jimmy Dorsey through the likes of Dizzy Gillespie, Art Blakey, Oscar Peterson, Miles Davis, John Coltrane and Charles Mingus to Pat Metheny
Keith Jarrett's solo concerts and the aesthetics of free improvisation from 1960-1973
No full textAvailable from British Library Document Supply Centre-DSC:DXN044244 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Viewing Empathy in Jazz Performance
No full textIn this chapter, the author explains how the empathic comes to play an important role in the way empathic researcher view performance, and jazz performance in particular. She develops an argument about the way in which certain fundamental tropes used to describe jazz coincide with many of the qualities empathic researcher ascribe to empathy. This argument forms part of the basis for the understanding of empathy. The author discusses how empathic researcher view empathy in performance by using a recent example of a filmed performance by the group Snarky Puppy. She also explores one of the critical relationships framed on screen, between bassist Michael League, and drummer Larnell Lewis. League is well-known as the leader of Snarky Puppy, a charismatic individual who through sheer force of will managed to bring the band to global prominence without the support of a major record company
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Interaction as Freedom, Tradition, and Mentorship: a performer-centred investigation into interaction in jazz performance
Get PDFThe purpose of this thesis is twofold: to construct a performer-centred autoethnographic methodology and to re-examine interaction in jazz performance utilising this methodology to recast interaction and position it as a means by which an ensemble's social aesthetic ideal is expressed. The ever-expanding body of scholarly work investigating interaction in jazz performance is filled with varied approaches but features little from the field of artistic research; thus, there is a clear need for a performer-centred perspective. The questions posed by this thesis adopt distinct theoretically-based approaches. Firstly, I utilise the growing literature in Artistic Research to construct a performer-centred autoethnographic methodology. Secondly, the performer- centred perspective is deployed to re-examine interaction through reflexive writing drawn from the accompanying performance portfolio. Thirdly, both the reflexive writing and recast description of interaction is used as a touchstone to explore the role of freedom, tradition, and mentorship as social aesthetic ideals which inform and shepherd interaction in jazz performance. Throughout this thesis, I demonstrate that the performer-centred perspective is highly beneficial for examining interaction and use this to develop a comprehensive body of theory. Resultantly, this thesis illustrates that an ensemble's collectively created and construed conception of the principles that inform their sonic landscape—their social aesthetic ideal—profoundly influences their inter- actions during performance. The significance of this thesis lies in its incorporation of the performer's voice into the discourse on interaction and the introduction of the concept of framing interaction as an expression of a social aesthetic ideal to the burgeoning literature on interaction in jazz performance
Interaction as Freedom, Tradition, and Mentorship: a performer-centred investigation into interaction in jazz performance
No full textThe purpose of this thesis is twofold: to construct a performer-centred autoethnographic methodology and to re-examine interaction in jazz performance utilising this methodology to recast interaction and position it as a means by which an ensemble's social aesthetic ideal is expressed. The ever-expanding body of scholarly work investigating interaction in jazz performance is filled with varied approaches but features little from the field of artistic research; thus, there is a clear need for a performer-centred perspective. The questions posed by this thesis adopt distinct theoretically-based approaches. Firstly, I utilise the growing literature in Artistic Research to construct a performer-centred autoethnographic methodology. Secondly, the performer- centred perspective is deployed to re-examine interaction through reflexive writing drawn from the accompanying performance portfolio. Thirdly, both the reflexive writing and recast description of interaction is used as a touchstone to explore the role of freedom, tradition, and mentorship as social aesthetic ideals which inform and shepherd interaction in jazz performance. Throughout this thesis, I demonstrate that the performer-centred perspective is highly beneficial for examining interaction and use this to develop a comprehensive body of theory. Resultantly, this thesis illustrates that an ensemble's collectively created and construed conception of the principles that inform their sonic landscape—their social aesthetic ideal—profoundly influences their inter- actions during performance. The significance of this thesis lies in its incorporation of the performer's voice into the discourse on interaction and the introduction of the concept of framing interaction as an expression of a social aesthetic ideal to the burgeoning literature on interaction in jazz performance
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