By Ken Prouty
Ken Prouty argues that wisdom of jazz, or extra to the purpose, claims to wisdom of jazz, are the major movers in forming jazz's id, its canon, and its neighborhood. each jazz artist, critic, or fan is familiar with jazz otherwise, according to each one individual's certain studies and insights. via enjoying, listening, analyzing, and speaking approximately jazz, either as a sort of musical expression and as a marker of id, each one aficionado develops a personalised courting to the bigger jazz global. in the course of the more and more very important function of media, listeners additionally have interaction within the formation of other groups that not just go beyond conventional obstacles of geography, yet more and more exist in basic terms within the digital global.
The relationships of "jazz humans" inside and among those groups is on the middle of Knowing Jazz. a few teams, akin to these in academia, replicate a conflict of sensibilities among old traditions. Others, relatively on-line groups, characterize new and fascinating avenues for daily fanatics, whose involvement in jazz has frequently been missed. different groups search to outline themselves as expressions of nationwide or worldwide sensibility, pointing to the ever-changing nature of jazz's identification as an American paintings shape in a global environment. What a lot of these groups proportion, although, is an intimate, visceral hyperlink to the track and the artists who make it, dropped at existence during the medium of recording. expert by way of an interdisciplinary process and imminent the subject from a few views, Knowing Jazz charts a philosophical path within which many disparate views and sundry critiques on jazz can locate universal ground.
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Extra info for Knowing Jazz: Community, Pedagogy, and Canon in the Information Age
What all these perspectives lack is a sense of the internalization of community identification. How do individuals who feel that they are part of a jazz community come to such a conclusion? What path leads them to a self-identification with others who share similar ideas? 23 McMillan and Chavis argued that identification with community is largely a psychological process that defines our connections to others with whom we identify. Specifically, they cite four main factors in fostering a sense of community: membership, influence, integration and fulfillment of needs, and shared emotional connection.
The term, if not the assumptions it carried, has been appropriated and decontextualized. But this leads to another problem: what is the proper context for using the term? Is it appropriate for those engaged in the discourse of jazz to use the term in such a way? Or more to the point, does it really tell us anything meaningful? To address this problem, I would like to look at several specific models for understanding community in general, to demonstrate how they might be applied to the structures of community in jazz, as well as ways in which each falls short.
Wogan notes, “it is clear that Anderson links print with cognition, since print accounts for the major cognitive transformations that engender imagined, national communities” (Wogan 2001, 404), and that Anderson’s theories are “based on a systematic opposition between print and orality, which can be represented in the following series of binary oppositions,” which include a sharp distinction between cognitive and emotional responses to information (411). As print-capitalism is primarily cognitive in how it generates community, oral traditions are, it follows, based more on an emotional response.
Knowing Jazz: Community, Pedagogy, and Canon in the Information Age by Ken Prouty