What do jazz improvisation and the neuroscience of thought have in common? The answers involve prediction, anticipation, exploration and freedom.
In this discussion, Michael Shadlen, MD, PhD, Professor of Neuroscience and principal investigator at the Zuckerman Institute, Chris Washburne, PhD,Director of the Louis Armstrong Jazz Performance Program at Columbia University and Helen Sung, pianist, composer and Zuckerman Institute’s first jazz artist-in-residence, will discuss emerging concepts in neuroscience which begin to expose the biology of deliberation, decision-making and timing. They will demonstrate recordings from brain cells and live music in an interactive dialogue about jazz and neuroscience.
Join us in a celebration of ideation, discovery and expression!
The theory of audiotactile music, developed by the Italian scholar Vincenzo Caporaletti, is based on a few simple ideas.
The expression popular music uses a sociological category, but the music it encompasses (jazz, pop-rock, rap, world music, etc.) can also be defined by its modes of music production.
A specific mode of production is phonography, which produces a trace ex post (coming after the sonic production of the music) and not a priori (before the sound exists), as is the case with written music and its privileged tool, the score.
This difference between phonography and written music has numerous consequences, including the distinct phenomenon, that phonography fixes every idiomatic feature of the music, while the score leaves the majority of them up to the performer (sonority, tempo, phrasing, etc.). This difference is also created by cognitive mediation: it is visual in written music through the score and audiotactile in phonographic music (hence the qualification of audiotactile music)
This new theoretical framework opens the field to different approaches to fundamental notions such as improvisation and the relationship with culture.
A multilingual review, the Journal of Jazz and Audiotactile Musics Studies, was founded by three scholars from three different countries: Vincenzo Caporaletti (Italy), Fabiano Araújo Costa (Brazil) and Laurent Cugny (France). The journal’s first issue presents the basic principles of the theory as well as a few case studies, such as the shift from one production system to another in New Orleans jazz with the advent of phonography. This shift is exemplified by the sources of « Tiger Rag » as recorded by the Original Dixieland Jazz Band (Vincenzo Caporaletti). The other case studies include a new reading of the history of Brazilian popular music through its relation to printed music and the role of phonography (Fabiano Araújo Costa), and the analysis of an appropriation experience of three solos by Bill Evans (Laurent Cugny).
Wednesday, April 24, 2019
6pm to 8pm
701C Dodge Hall
2960 Broadway at West 116th Street , New York, NY 10027