vol 11. Special Feature: “Art and the Brain Part III”


Neus Barrantes-Vidal
Creativity & Madness Revisited from Current Psychological Perspectives

David Borgo
The Play of Meaning and the Meaning of Play in Jazz

Joseph A. Goguen
Musical Qualia, Context, Time and Emotion

Ivar Hagendoorn
Some Speculative Hypotheses about the Nature and Perception of Dance and Choreography

Amy Ione
Klee and Kandinsky: Polyphonic Painting, Chromatic Chords and Synaesthesia

Vijay Iyer
Improvisation,Temporality and Embodied Experience

Bruce F. Katz
A Measure of Musical Preference

Mari Tervaniemi & Elvira Brattico
From Sounds to Music: Towards Understanding the Neurocognition of Musical Sound Perception

JAZZ, 임프로바이제이션, Qualia, ART ..

The play of meaning and the meaning ofplay in jazz


Trumpeter Don Cherry was fond of saying that ‘there is nothing more seriousthan fun’. And philosopher Hans Georg Gadamer (1993, p.102) seems toecho his words when he writes: ‘Seriousness is not merely something that callsus away from play; rather, seriousness in playing is necessary to make the playwholly play’. Individuals, communities and cultures the world over delight inthe play of musical sound and debate its play of meanings. For specialists, musicaldiscussion often hinges on cryptic symbols and impenetrable codes, but foreveryone, understanding music relies on basic cognitive and social processes. Bymusicking together — to borrow Christopher Smalls’ (1998) evocative phrasefor taking part in any way in musical activity — we bond with one anotherand create shared meanings. We also define or express ourselves within andagainst a musical community and a historical and cultural tradition. The worldof jazz as a tradition provides a rich context for investigating the relationshipbetween formal musical syntax, social interactive processes and cognitive andcultural understandings. In this essay I explore original jazz performances byJohn Coltrane (A Love Supreme) and Sonny Rollins (Freedom Suite) and recentreinterpretations by other artists for insight into the cognitive and socialprocesses through which musical meanings are negotiated and renegotiated. Myanalysis draws on work in cognitive science with categorization and conceptualmapping and on the notion of signifyin(g) first proposed by Henry Louis Gates(1988) for African American cultural studies.


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