This book presents the recent positions, theories, and methods of
artistic research in jazz, inviting readers to critically engage in
and establish a sustained discourse regarding theoretical,
methodological, and analytic perspectives. A panel of eleven
international contributors presents an in-depth discourse on shared
and specific approaches to artistic research in jazz, aiming at an
understanding of the specificity of current practices, both
improvisational and composed. The topics addressed throughout
consider the cultural, institutional, epistemological,
philosophical, ethical, and practical aspects of the discipline, as
well as the influence of race, gender, and politics. The book is
structured in three parts: first, on topics related to
improvisation, theory and history; second, on institutional and
pedagogical positions; and third, on methodical approaches in four
specific research projects conducted by the authors. In thinking
outside established theoretical frameworks, this book invites
further exploration and participation, and encourages
practitioners, scholars, students, and teachers at all academic
levels to shape the future of artistic research collectively. It
will be of interest to students in jazz and popular music studies,
performance studies, improvisation studies, music philosophy, music
aesthetics, and Western art music research.
General
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