Jazz improvisation: A search for hidden harmonies and a unique self

Ricerche di Psicologia

Volumn 27, Issue 3, 2004, Pages 71-101

  Duranti, Alessandro ^a   Burrell, Kenny ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 27644514243     PISSN: 03916081     EISSN: 19725620     Source Type: Journal    
DOI: None     Document Type: Article

References (47)

1. Ake, David (2002). Jazz Cultures. Berkeley: University of California Press.
2. Armstrong, Louis (1948). Bop Will Kill Business Unless It Kills Itself First. Down Beat: 2-3. [Reprinted in R. Walser, Ed. (1999), pp. 153-55]
3. Bailey, Derek (1979). Improvisation. London: Latimer New Directions.
4. Berliner, Paul F. (1994). Thinking in Jazz: The Infinite Art of Improvisation. Chicago: Chicago University Press.
5. Berliner, Paul (1997). Give and Take: The Collective Conversation of Jazz Performance. Creativity in Performance. R. K. Sawyer (Ed.). Greenwich, CT: Ablex: 9-41.
6. Bogen, James (1987). "Finding an Audience." Papers in Pragmatics 1(2): 35-65.
7. Bryant, Clora, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson and Marl Young, Eds. (1998). Central Avenue Sounds: Jazz in Los Angeles. Berkeley & Los Angeles: University of California Press.
8. Carr, Ian (1998). Miles Davis: The Definitive Biography. Hammersmith, London: HarperCollins.
9. Coker, Jerry (1991). Elements of the Jazz Language For the Developing Improvisor. Miami, FL: Studio 224.
10. Collette, Buddy (1998). Buddy Collette. Central Avenue Sounds: Jazz in Los Angeles. C. Bryant, B. Collette, W. Green et al. Berkeley & Los Angeles: University of California Press: 134-63.
11. Cooke, Mervyn and David Horn, Eds. (2002). The Cambridge Companion to Jazz. Cambridge: Cambridge University Press
12. Davis, Miles and Quincy Troupe (1989). Miles: The Autobiography. New York: Simon and Schuster.
13. Day, William (2000). "Knowing as Instancing: Jazz Improvisation and Moral Perfectionism." The Journal of Aesthetics and Art Criticism 58(2): 99-111.
14. Duranti, Alessandro, Kenny Burrell, and Steve Flood (Producers) (2004) The Culture of Jazz Aesthetics (in DVD format). Los Angeles: The UCLA Office of Instructional Development (available from the UCLA Media Lab, Powell Library, UCLA, Los Angeles, CA 90095).
15. Feld, Steven (1994). Communication, Music, and Speech About Music. In C. Keil and S. Feld, Music Grooves. Chicago, The University of Chicago Press: 77-95.
16. Feld, Steven, Aaron Fox, Thomas Porcello and David Samuels (2004). Vocal Anthropology: From the Music of Language to the Language of Music. In A Companion to Linguistic Anthropology. A. Duranti, ed. Maiden, MA, Blackwell: 321-345.
17. Ferand, Ernest T. (1961). Improvisation in nine centuries of western music; an anthology with a historical introduction. Köln, : A. Volk Verlag. (English translation of Die improvisation in der musik: eine entwicklungsgeschichtliche und psychologische Untersuchung, Zurich: Rhein Verlag, 1938).
18. Feurzeig, David Kahn (1997). Making the Right Mistakes: James P. Johnson, Thelonious Monk, and the Trickster Aesthetic. Ph.D. Dissertation, Cornell University.
19. Floyd, Samuel A., Jr. (1991). "Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry." Black Music Research Journal 11(2): 265-87.
20. Geertz, Clifford (1983). "From the Native's Point of View": On the Nature of Anthropological Understanding. In C. Geertz, Local Knowledge: Further Essays in Interpretive Anthropology. New York: Basic Books: 55-70.
21. Giannattasio, Francesco (1992). Il concetto di musica. Contributi e prospettive della ricerca etnomusicologica. Roma: La Nuova Italia Scientifica.
22. Gottlieb, Robert, Ed. (1996). Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now. New York: Vintage Books.
23. Hamilton, Andy (2000). "The Art of Improvisation and the Aesthetics of Imperfection." British Journal of Aesthetics 40(1): 168-85.
24. Jackson, Travis A. (2000). Jazz Performance as Ritual: The Blues Asthetic and the African Diaspora. The African Diaspora. I. Monson (Ed.). New York: Garland: 23-82.
25. Jackson, Travis A. (2002). Jazz as Musical Practice. The Cambridge Companion to Jazz. M. Cooke and D. Horn (Eds.). Cambridge: Cambridge University Press: 83-95.
26. Keil, Charles (1966). Urban blues. Chicago, : University of Chicago Press.
27. Kivy, Peter (2002). Introduction to a Philosophy of Music. Oxford: Oxford University Press.
28. Levine, Mark (1995). The Jazz Theory Book. Petaluma, CA: Sher Music.
29. Lortat-Jacob, Bernard, Ed. (1987). L'improvisation dans les musiques de tradition orale. Paris: SELAF.
30. Martin, Peter J. (2002). Spontaneity and Organization. The Cambridge Companion to Jazz. M. Cooke and D. Horn (Eds.). Cambridge: Cambridge University Press, 133-52.
31. Mauss, Marcel (1938). "La Notion de Personne, Celle de "Moi"." Journal of the Royal Anthropological Institute 68: 263-81.
32. Monson, Ingrid (1996). Saying Something: Jazz Improvisation and Interaction. Chicago: Chicago University Press.
33. Monson, Ingrid (1997). What Sound Got to Do With It? Jazz, Poststructuralism, and the Construction of Cultural Meaning. Creativity in Performance. R. K. Sawyer (Ed.) Greenwich, CT: Ablex, 95-115.
34. Netti, Bruno (1974). "Thoughts on improvisation: A comparative approach." The Musical Quarterly 60: 1-19.
35. Netti, Bruno and Melinda Russell, Eds. (1998). In the Course of Performance: Studies in the World of Musical Improvisation. Chicago, The University of Chicago Press.
36. Owens, Thomas (1995). Bebop: The Music and Its Players. New York: Oxford University Press.
37. Porter, Eric (2002). What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press.
38. Porter, Lewis (1998). John Coltrane: His Life and Music. Ann Arbor: The University of Michigan Press.
39. Sager, David (2002). History, Myth and Legend: The Problem of Early Jazz. The Cambridge Companion to Jazz. M. Cooke and D. Horn (Eds.). Cambridge: Cambridge University Press, 270-85.
40. Sawyer, R. Keith (2001). Creating Conversations: Improvisation in Everyday Discourse. Cresskill, NJ: Hampton Press.
41. Walser, Robert (1993). "Out of Notes: Signification, Interpretation, and the Problem of Miles Davis." The Musical Quarterly 72(2): 343-65.
42. Walser, Robert, Ed. (1999). Keeping Time: Reading in Jazz History. New York: Oxford University Press.
43. Waterman, Richard (1952). African Influence on the Music of the Americas. Acculturation in the Americas. S. Tax (Ed.). Chicago: University of Chicago Press.
44. Wiggins, Gerald (1998). Gerald Wiggins. In Central Avenue Sounds: Jazz in Los Angeles. C. Bryant, B. Collette, W. Green et al, eds. Berkeley & Los Angeles, University of California Press: 311-23.
45. Wilson, Olly (1974). "The Significance of the Relationship between Afro-American Music and West African Music." Black Perspective in Music 2: 3-22.
46. Wilson, Olly (1992). The Heterogeneous Sound Ideal in African-American Music. New Perspectives on Music: Essays in Honor of Eileen Southern. J. Wright and S. A. Floyd, Jr. (Eds.) Warren, MI, Harmonie Park Press: 327-38.
47. Woideck, Carl (1996). Charlie Parker: His Music and Life. Ann Arbor, MI: The University of Michigan Press.