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Jasz annotations: negotiating a discursive limit

Jasz annotations: negotiating a discursive limit Jasz annotations: negotiating a What follows is the outline of a project that involves investigating the possibilities of a discourse appropriate to pertinent to jazz; in the sense of both those discourses that already pertain to it, whether musicological literary, and what it invites evokes in terms of a discourse that approaches its own limits. Jazz, as a certain hizon of musical possibility, appears to fbid yet call fth writing, a writing that would similarly test, and be similarly impelled by, the adventure of invention. Somewhat paradoxically, f one who comes from afield—literary criticism—whose problematic status was due to its speaking the same language as its object, I find the converse difficulty in a musicology whose discourse is held to be too differentfrom its object. That raises the question of how to conceive the space between one 'discourse' and another, given that that space has traditionally been defined and regulated by ascribing to one the other discourse a hierarchical priity based on a notion of the literal. I apologize in advance to scholars of music and musicians who would be me competent than I am to undertake this project. Yet its very gamble is to profitfrom this approach http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Paragraph Edinburgh University Press

Jasz annotations: negotiating a discursive limit

WILLS, DAVID
Paragraph , Volume 21 (2): 131 – Jul 1, 1998
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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
0264-8334
eISSN
1750-0176
DOI
10.3366/para.1998.0001
Publisher site
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Abstract

Jasz annotations: negotiating a What follows is the outline of a project that involves investigating the possibilities of a discourse appropriate to pertinent to jazz; in the sense of both those discourses that already pertain to it, whether musicological literary, and what it invites evokes in terms of a discourse that approaches its own limits. Jazz, as a certain hizon of musical possibility, appears to fbid yet call fth writing, a writing that would similarly test, and be similarly impelled by, the adventure of invention. Somewhat paradoxically, f one who comes from afield—literary criticism—whose problematic status was due to its speaking the same language as its object, I find the converse difficulty in a musicology whose discourse is held to be too differentfrom its object. That raises the question of how to conceive the space between one 'discourse' and another, given that that space has traditionally been defined and regulated by ascribing to one the other discourse a hierarchical priity based on a notion of the literal. I apologize in advance to scholars of music and musicians who would be me competent than I am to undertake this project. Yet its very gamble is to profitfrom this approach

Journal

Paragraph – Edinburgh University Press

Published: Jul 1, 1998

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