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On Jazzology: A Rapsody

On Jazzology: A Rapsody On Jazzology: A Rapsody f. Michael Jarrett JJre Numismatic Discourse of Jazz Jazz is not a "form" like, let us say, the waltz or the fugue, that leaves the composer's imagination free within the form; it is a bundle of tricks- of syncopation and so on. Assume that the explanatory myths of jazz can teach us something about writing theomusicology: namely, that invention advances ac­ cording to the "law" of the idiom. "Thinking," writes Gregory Ul­ mer, "begins not from the generalized classifications of subject for­ mation, but from the specific experiences historically situated." We think through stories- that is, by means of particular experiences­ even when our thinking is directed against the institutions which formed us. This essay on rapsody, a symbol suggesting the opposition genu­ ine/counterfeit and organizing every written representation of jazz that speaks of its "essence," begins appropriately enough with a story. IOr maybe it begins with something like a story.) It thinks through-coins theory out of-Gunther Schuller's brief account of 1. Ernest Newman, "Summing Up Music's Case Against Jazz," New York Times Magazine, March 6, 1927. Cited in Frederic Ramsey, Jr., and Charles Edward Smith, eds., fazzmen (New York: Harcourt Brace, 1939), 324. 2. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

On Jazzology: A Rapsody

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Copyright
Copyright © 1992 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-6.1.177
Publisher site
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Abstract

On Jazzology: A Rapsody f. Michael Jarrett JJre Numismatic Discourse of Jazz Jazz is not a "form" like, let us say, the waltz or the fugue, that leaves the composer's imagination free within the form; it is a bundle of tricks- of syncopation and so on. Assume that the explanatory myths of jazz can teach us something about writing theomusicology: namely, that invention advances ac­ cording to the "law" of the idiom. "Thinking," writes Gregory Ul­ mer, "begins not from the generalized classifications of subject for­ mation, but from the specific experiences historically situated." We think through stories- that is, by means of particular experiences­ even when our thinking is directed against the institutions which formed us. This essay on rapsody, a symbol suggesting the opposition genu­ ine/counterfeit and organizing every written representation of jazz that speaks of its "essence," begins appropriately enough with a story. IOr maybe it begins with something like a story.) It thinks through-coins theory out of-Gunther Schuller's brief account of 1. Ernest Newman, "Summing Up Music's Case Against Jazz," New York Times Magazine, March 6, 1927. Cited in Frederic Ramsey, Jr., and Charles Edward Smith, eds., fazzmen (New York: Harcourt Brace, 1939), 324. 2.

Journal

Black Sacred Music – Duke University Press

Published: Mar 1, 1992

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