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

本计画从历史、哲学与艺术研究的交叉角度，探讨文字与即兴音乐的关系。创作音乐和文本的实践可以有意义地结合在一起进行，这隐含在音乐批评、歌词、班轮音符、音乐学学术等的创作中。然而，在上个世纪，人们提出了这是否是一个有充分根据的假设的问题（Seeger，1924），哲学家们已经探索了这种关系的本质。（Langer，1941），美学家（Albright，2014），民族音乐学家（费尔德，1984）和认知科学家（Jackendoff，2011）。该项目旨在重新评估文本和音乐之间的关系，重点是即兴音乐，使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。鉴于爱德华兹（2017）最近对文学与爵士乐之间的历史关系的研究，爵士乐研究越来越倾向于借鉴欧陆哲学，以及即兴音乐家转向艺术研究的增加，这一项目的动力来自我作为即兴演奏者和学者的经验。作为一个广受好评的即兴演奏家，我在国内和国际上都有演出，演奏自己和其他人的作品，这些作品涉及音乐和各种形式的文本之间的翻译。在我的学术工作中，我写了我的艺术实践，爵士乐史学和当代媒体实践。我的硕士论文，我获得了80%的分数，探索了爵士乐实践研究方法的认识论，并提出了一种利用巴拉德的“衍射”方法论（2007年）和自我民族志（霍尔曼琼斯等人，2013年）。我的经验跨越实践和理论，历史和当代的关注，学科具体和一般的哲学探究之间的界限。本研究旨在将这些观点结合起来，探讨音乐与文本之间的关系。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调查，哲学调查和表演实践。历史调查将建立在二手文献，利用档案工作和文本分析的主要文本。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出一个具体的框架。表演实践将使用自我民族志，访谈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.