Blues - Philosophy for Everyone: Thinking Deep About Feeling by Jesse R. Steinberg

By Jesse R. Steinberg

The philosophy of the blues

From B.B. King to Billie vacation, Blues song not just sounds sturdy, yet has a virtually common charm in its mirrored image of the rigors and tribulations of lifestyle. Its skill to powerfully contact on more than a few social and emotional concerns is philosophically inspiring, and right here, a various variety of thinkers and musicians provide illuminating essays that make very important connections among the human and the Blues that would entice tune fans and philosophers alike.Content:
Chapter 1 Talkin' to Myself back (pages 1–15): Joel Rudinow
Chapter 2 Reclaiming the charisma (pages 16–24): Ken Ueno
Chapter three Twelve?Bar Zombies (pages 25–37): Wade Fox and Richard Greene
Chapter four The Blues as Cultural Expression (pages 38–48): Philip Jenkins
Chapter five The inventive Transformation of Trauma, Loss, and Adversity within the Blues (pages 49–65): Alan M. Steinberg, Robert S. Pynoos and Robert Abramovitz
Chapter 6 unhappiness as attractiveness (pages 66–74): David C. Drake
Chapter 7 Anguished paintings (pages 75–83): Ben Flanagan and Owen Flanagan
Chapter eight Blues and Catharsis (pages 84–93): Roopen Majithia
Chapter nine Why cannot We be chuffed? (pages 95–110): Brian Domino
Chapter 10 Doubt and the Human (pages 111–120): Jesse R. Steinberg
Chapter eleven Blues and Emotional Trauma (pages 121–130): Robert D. Stolorow and Benjamin A. Stolorow
Chapter 12 ache, Spirituality, and Sensuality (pages 131–141): Joseph J. Lynch
Chapter thirteen caring the road (pages 142–152): Kimberly R. Connor
Chapter 14 girl Sings the Blues (pages 153–166): Meghan Winsby
Chapter 15 Even White parents Get the Blues (pages 167–175): Douglas Langston and Nathaniel Langston
Chapter sixteen Distributive heritage (pages 176–190): Michael Neumann
Chapter 17 Whose Blues? (pages 191–202): Ron Bombardi

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Example text

This is Schuller’s sacred text. Sounds that do not express these frequencies with names are expunged from the system and are often not considered music. When a sound is too dense for a pitch to be clear, it is considered noise. , Indian raga or the maqam of the Middle East) has different tuning standards. ’3 So which sounds exactly are ‘unmusical’? What about bent notes on a guitar, which are common in the blues? Or the slippery sounds of a slide guitar? What about the transcendent presence that B.

Amazingly, everyone watching felt the same shift in expression, and we all knew the temperature change was collectively felt. It was almost like in the first solo B. B. had been merely reciting text whereas in the second he was preaching a sermon. The experience of this phenomenon challenged and seemed to contradict how I was being trained as a classical musician – how do you transcribe someone’s personality? One of the things you are taught in classical training is to analyze the works of the masters by looking at their scores.

B. King lecture was not really part-and-parcel of my doctoral curriculum. To be sure, composers such as Ravel and Gershwin were influenced by the popular music of their time. Moreover, composers today find themselves delineated into countless hyphenated niches – avant-garde, neo-classical, post-modern. In the university system, though, composition students generally analyze more Beethoven than blues. An education in music composition, in the strictly classical sense, equips the student with the tools of the Western canon, and generally emphasizes an understanding of where one’s budding voice fits in Blues – Philosophy for Everyone: Thinking Deep About Feeling Low, First Edition.

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