An Emic and Etic Analysis Of The Impact Of Creative Listening When Recording And Performing With The James Taylor Quartet.

Allbwn ymchwil: Cyfraniad at gynhadleddPapuradolygiad gan gymheiriaid


This paper proposes to explore the creative listening roles employed by myself when working with the ‘Acid Jazz’ ensemble The James Taylor Quartet (JTQ) during the years 1989 – 1990. During this time the band recorded their 2nd album Get Organized (Polydor Records 1989) in addition to undertaking several European tours, releasing two mini albums, a promotional video and a single. It is proposed that my dual role today as both an ex band member and academic enables a unique opportunity to analyse factors such as the impact of creative listening on the progressive development of songs, arrangements, productions and performance paradigms. Gioia’s (1988) comment that ‘jazz musicians cannot look ahead at what [they are] going to play, but can look behind at what [they] have just done’ is pertinent, and this paper will apply this philosophy by including my own and others reflections on the creative listening process. As noted by Keith Sawyer (2007), ‘all innovations result from a collaborate web’, and the epistemological paradigms through which listening is an essential aspect in the group creative process will be discussed, drawing on personal reflection, interviews with James Taylor himself and academic insights from the likes of Aaron Copeland, William Cahn, Keith Sawyer and Eric Clarke. After contextualising my role in JTQ, the paper will be constructed to progressively examine research questions that have particular relevance for performing musicians and composers as follows: • What are the means through which musicians employ listening to recreate ‘pastiche’ sounds of the past? • How and why do musicians incorporate listening skills to integrate authenticity into their work by ensuring specific sounds, styles, production techniques and performance conventions comply with the canon? • How does creative listening impact group composition, live performance, rehearsals and improvisation? • How do environmental factors impact creative listening?
Iaith wreiddiolSaesneg
StatwsCyhoeddwyd - 1 Chwef 2010
Digwyddiad International Conference on Traditional Music - University of Limerick. Ireland.
Hyd: 1 Chwef 20101 Chwef 2010


Cynhadledd International Conference on Traditional Music

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