[quote=“BlueHeron, post:21, topic:818”][quote author=Django link=topic=869.msg9658#msg9658 date=1208298193]
art (an inherently non-civilized pastime).
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I’ve started thinking of it this way, too. Artists are (in)famous for looking at the world from the outside in. I think it’d be easy to convince an artist of the merits of rewilding. Seems as though you’re already convinced.
Do you need a high degree of education to play jazz? As one who has played beginning level jazz piano, I know there’s a lot to learn if you want to play it well. But you can learn jazz from experience, with other musicians, without a formal course of study.
Of course if you want to teach, that’s a different story. 8) (<— hepcat sunglasses ;))
Speaking of wild African music, the banjo is an adaptation of an African tribal instrument. So American folk/bluegrass music is also a possible bridge for rewilding.[/quote]
It depends. The idea of getting a college degree in jazz music would have been considered absurd a few decades ago. Some of the greats didn’t even attend college at all. A crucial part of jazz education is great players teaching other players on a personal basis.
The concept of teaching jazz music is abstract. You can teach the theory, melodic passages that sound good, resolution, appropriate rhythmic patterns, etc. but at the end of the day, the teacher wants to get the YOU out of your playing. Jazz as a form of music and as an art form is a matter of speaking the language of jazz. But like Shakespeare is different than Joyce is different than e.e. cummings is different Chuck Palinhuik, nobody is going to speak the same language the same way.
Jason, you’re actually dead on. My interpretation of jazz musicians from the 1950’s on is that they were (and are) the most dangerous artists alive: people with the musical knowledge and expertise of classical musicians with the wild, sexual, natural and beautiful creative urge of folk musicians.