{"title":"臀部防喷器","authors":"Liam Maloney","doi":"10.1558/jazz.23613","DOIUrl":null,"url":null,"abstract":"This article explores Afrofuturist countermemory and alternative history, and the potential of these concepts to be applied to the legacy of Miles Davis’s final fusion concept. Through artistic practice and investigations into the role of such practice in musicological research, Kodwo Eshun’s ‘sonic fictions’ are leveraged as a lens to reclaim Davis’s experiments in jazz-hip hop fusion. Afrofuturism and its relation to speculative modalities is discussed, particularly in terms of its capacity for cultural recovery and historical disruption with a focus on recorded music via sonic fictions and their attendant considerations. The practice-led research brings the ‘conceptual collaboration’ paradigm of Amerigo Gazaway to bear on Davis’s work; four guiding principles in Gazaway’s concept are identified and discussed. The culmination of this research, an original album titled Hip Bop, imagines an alternative future for Miles Davis post-1992 that continues and expands the jazz-hip hop fusion of his final album. This new album is then discussed with reference to sonic fiction, and its relationship to authenticity and techno-political expression is questioned.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Hip Bop\",\"authors\":\"Liam Maloney\",\"doi\":\"10.1558/jazz.23613\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article explores Afrofuturist countermemory and alternative history, and the potential of these concepts to be applied to the legacy of Miles Davis’s final fusion concept. Through artistic practice and investigations into the role of such practice in musicological research, Kodwo Eshun’s ‘sonic fictions’ are leveraged as a lens to reclaim Davis’s experiments in jazz-hip hop fusion. Afrofuturism and its relation to speculative modalities is discussed, particularly in terms of its capacity for cultural recovery and historical disruption with a focus on recorded music via sonic fictions and their attendant considerations. The practice-led research brings the ‘conceptual collaboration’ paradigm of Amerigo Gazaway to bear on Davis’s work; four guiding principles in Gazaway’s concept are identified and discussed. The culmination of this research, an original album titled Hip Bop, imagines an alternative future for Miles Davis post-1992 that continues and expands the jazz-hip hop fusion of his final album. This new album is then discussed with reference to sonic fiction, and its relationship to authenticity and techno-political expression is questioned.\",\"PeriodicalId\":40438,\"journal\":{\"name\":\"Jazz Research Journal\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-12-20\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Jazz Research Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1558/jazz.23613\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Jazz Research Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1558/jazz.23613","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
This article explores Afrofuturist countermemory and alternative history, and the potential of these concepts to be applied to the legacy of Miles Davis’s final fusion concept. Through artistic practice and investigations into the role of such practice in musicological research, Kodwo Eshun’s ‘sonic fictions’ are leveraged as a lens to reclaim Davis’s experiments in jazz-hip hop fusion. Afrofuturism and its relation to speculative modalities is discussed, particularly in terms of its capacity for cultural recovery and historical disruption with a focus on recorded music via sonic fictions and their attendant considerations. The practice-led research brings the ‘conceptual collaboration’ paradigm of Amerigo Gazaway to bear on Davis’s work; four guiding principles in Gazaway’s concept are identified and discussed. The culmination of this research, an original album titled Hip Bop, imagines an alternative future for Miles Davis post-1992 that continues and expands the jazz-hip hop fusion of his final album. This new album is then discussed with reference to sonic fiction, and its relationship to authenticity and techno-political expression is questioned.
期刊介绍:
Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music. The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution. In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.