The sonic camera
Intermodality and intermediality in contemporary jazz composition
DOI:
https://doi.org/10.1558/jazz.v7i2.19899Keywords:
Jazz and Cinema, Ben Allison, Music Analysis, Music Perception, Narrative, Film TheoryAbstract
In this work, I explore the resonance and recurrence of visual metaphors in the discourse surrounding contemporary jazz composition and performance, much of which I suggest resists analytical approaches privileging cyclicity in form and relationships between pre-composed and improvised tonal language. I argue that, as a recurrent conceptual glitch, these analytical approaches often focus exclusively on performative process rather than on listener experience and on strictly aural rather than synesthetic models of listener subjectivity. As an alternative, I propose a cinematographic narrative approach based on theories of visual subjectivity and the composition of visual images. As an example, I discuss the music of bassist and composer Ben Allison.
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——(1995) Difference and Repetition. New York: Columbia University Press.
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——(1983) Narrative Discourse: An Essay in Method. Trans. Jane Lewin. Ithaca, NY: Cornell University Press.
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——(2003) Narrative Theory and the Cognitive Sciences. Stanford, CA: Center for the Study of Language and Information.
Iyer, Vijay (2004) ‘Exploding the Narrative’. In Uptown Conversation, ed. Robert O’Meally et al., 393–403. New York: Columbia University Press.
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Johnson, Peter (2010) ‘Illusion and Aura in the Classical Audio Recording’. In Recorded Music: Performance, Culture, and Technology, ed. Amanda Bayley, 37–51. Cambridge: Cambridge University Press.
Kane, Brian (2007) ‘L’objet Sonore Maintenant: Pierre Schaeffer, Sound Objects, and the Phenomenological Reduction’. Organised Sound 12.1: 15–24. http://dx.doi.org/10.1017/S135577180700163X
——(2012a) ‘Acousmate: History and De-Visualized Sound in the Schaefferian Tradition’. Organised Sound 17.2: 179–88. http://dx.doi.org/10.1017/S1355771812000118
——(2012b) ‘Jean-Luc Nancy and the Listening Subject’. Contemporary Music Review 31.5/6: 439–47. http://dx.doi.org/10.1080/07494467.2012.759413
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Published
2015-04-30
Issue
Section
Articles
How to Cite
Cosper, D. (2015). The sonic camera: Intermodality and intermediality in contemporary jazz composition. Jazz Research Journal, 7(2), 203-237. https://doi.org/10.1558/jazz.v7i2.19899
