Words, Music, Entanglements: Diffractive Readings of Contemporary Jazz Recordings

这个项目从历史、哲学和艺术研究的交叉角度来研究文本和即兴音乐之间的关系。创作音乐和文本的实践可以有意义地结合在一起，这一点隐含在音乐评论、歌词、线性音符、音乐学术等的产生中。然而，在上个世纪，人们对这是否是一个有充分根据的假设提出了质疑(Seeger，1924)，哲学家(Langer，1941)、美学家(Albright，2014)、民族音乐学家(Feld，1984)和认知科学家(Jackendoff，2011)探索了这种关系的本质。这个项目试图重新评估文本和音乐之间的关系，重点放在即兴音乐上，以便爵士乐和即兴音乐研究的见解可以应用于我们对音乐和文本之间关系的理解，反之亦然。考虑到爱德华兹(2017)最近关于文学和爵士乐之间的历史关系的工作，爵士乐研究越来越倾向于借鉴大陆哲学，以及越来越多的即兴音乐家转向艺术研究，这一点尤其及时。这个项目的动力来自我作为即兴演奏家和学者的经验。作为一名备受好评的即兴演奏家，我曾在国内外演出过，演奏过我自己和其他人的作品，这些作品涉及到各种形式的音乐和文本之间的翻译。在我的学术作品中，我写了关于我的艺术实践、爵士乐史学和当代媒体实践的文章。我的硕士论文，我得到了80%的分数，探索了爵士乐实践研究方法论的认识论，并提出了一种写作爵士乐实践的方法，借鉴了巴拉德(2007)和自我人种学(Holman Jones et al.，2013)。我的经历跨越了实践和理论、历史和当代关注以及学科具体和一般哲学问题之间的界限。本项目旨在将这些视角结合起来，探索音乐和文本之间的关系。本研究将分为三个部分：从20世纪60年代到现在的爵士乐文学的历史回顾，哲学调查，以及表演实践。历史调查将建立在二手文献的基础上，使用档案工作和对原始文本的文本分析。哲学研究将借鉴大陆和当代哲学的关键人物和概念，为理解文本和音乐之间的关系提供一个具体的框架。表演练习将使用自传民族志、采访和视听记录来捕捉排练和表演。

This project investigates the relationship between text and improvised music from the overlapping perspectives of historical, philosophical, and artistic research. That the practices of producing music and text can be meaningfully conducted in conjunction, is implicit in the production of music criticism, lyrics, liner notes, musicological scholarship, etc. However, in the last century, questions have been raised about whether this is a well-founded assumption (Seeger, 1924) and the nature of the relationship has been explored by philosophers (Langer, 1941), aestheticians (Albright, 2014), ethnomusicologists (Feld, 1984), and cognitive scientists (Jackendoff, 2011). This project seeks to re-evaluate the relationship between text and music with a focus on improvised music, so that insights from jazz and improvised music research can be applied to our understanding of the relationship between music and text, and vice versa. This is particularly timely in light of Edwards' (2017) recent work on the historical relationship between literature and jazz music, the increasing tendency in jazz studies to draw on continental philosophy, and the increase in improvising musicians turning to artistic research.The impetus for this project comes from my experience as an improviser and an academic. As a critically acclaimed improviser I have performed nationally and internationally, playing works by myself and others which have involved translation between music and text in various forms. In my academic work I have written about my artistic practice, jazz historiography, and contemporary media practices. My MA dissertation, for which I received a mark of 80%, explored the epistemology of jazz practice-research methodologies and proposed a method for writing about jazz practice which draws on Barad's 'diffractive' methodology (2007) and autoethnography (Holman Jones et al., 2013). My experience crosses boundaries between practice and theory, historical and contemporary concerns, and discipline specific and general philosophical enquiries. This project aims to bring these perspectives together to explore the relationship between music and text.This research will be structured in three parts: a historical survey of jazz literature from the 1960s to the present, a philosophical investigation, and a performance practice. The historical survey will build on secondary literature, using archival work and textual analysis of primary texts. The philosophical investigation will draw on key figures and concepts from continental and contemporary philosophy to argue for a specific framework for understanding the relationship between text and music. The performance practice will use autoethnography, interview, and audiovisual recording to capture rehearsals and performances.