By Jesse R. Steinberg
The philosophy of the blues
From B.B. King to Billie vacation, Blues tune not just sounds sturdy, yet has a virtually common allure in its mirrored image of the pains and tribulations of way of life. Its skill to powerfully contact on a variety of social and emotional matters is philosophically inspiring, and right here, a various diversity of thinkers and musicians provide illuminating essays that make very important connections among the human situation and the Blues that might entice track fanatics 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 disappointment 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 situation (pages 111–120): Jesse R. Steinberg
Chapter eleven Blues and Emotional Trauma (pages 121–130): Robert D. Stolorow and Benjamin A. Stolorow
Chapter 12 anguish, Spirituality, and Sensuality (pages 131–141): Joseph J. Lynch
Chapter thirteen being concerned the road (pages 142–152): Kimberly R. Connor
Chapter 14 girl Sings the Blues (pages 153–166): Meghan Winsby
Chapter 15 Even White fogeys Get the Blues (pages 167–175): Douglas Langston and Nathaniel Langston
Chapter sixteen Distributive background (pages 176–190): Michael Neumann
Chapter 17 Whose Blues? (pages 191–202): Ron Bombardi
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Extra resources for Blues - Philosophy for Everyone: Thinking Deep About Feeling Low
When he was first starting out as a conductor, Schuller developed a tremendous respect for the written score, and understandably so, since much of the music he was conducting was contemporary and no recordings existed at the time. Schuller writes: I was learning to respect rigorously the content of the score – by whomever – and the score became a kind of sacred document to me. 2 By extension, this means that a work of classical music is transportable, that many people can perform the work, that the identity of the work outlives (or survives) any one interpretation or performer.
Of course, the hall should be packed for B. B. King, but I remember my expectations being colored by Harvard’s reputation as an ivory tower, where you might expect the separation of high art (such as opera and symphonic music) and pop music to be guarded. The band played for a full ten minutes while we waited for B. B. to come onstage, heightening our anticipation of B. ’s appearance. When he did finally walk into the hall, he immediately received a standing ovation – the first musician I had ever witnessed receiving that honor.
Myself: But where are you headed with it? I: Well, suppose we consider the blues as a cultural phenomenon, something that arises as part of what we call culture. ’ Now, how do you tell whether the blues is living or dying? How do you determine which changes and developments constitute continuations or extensions of the blues as a living tradition and which ones constitute departures from or betrayals of that tradition? And doesn’t it get more complicated and difficult with each new generation of change and development?