Three studies in the philosophy of jazz
[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] This dissertation comprises three studies which in turn discuss jazz ontology, jazz improvisation, and the question of whether jazz has ended as an artform. The first study discusses Andrew Kania's work on jazz ontology and attempts to clarify and extend his position regarding the principled exclusion of vocal jazz and jazz Fusion from his jazz ontology. Further, it introduces a quasi-realist strategy for making sense of jazz-work ontological discourse. The second study is a unique, comprehensive discussion of the jazz drummer's history and role in jazz improvisational contexts, in which the full range of instrumental performance practice (timekeeping, comping, and soloing) is explored. The third study is a provocative investigation of the possibility that the artform of jazz has "ended." Here, the end-of-art theses of Hegel and Danto are recalled and examined for their relevance in determining whether jazz has become a closed concept. The conclusion reached is that it is plausible to affirm that jazz has ended, even if it has not died.
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