By Jesse R. Steinberg
The philosophy of the blues
From B.B. King to Billie vacation, Blues track not just sounds sturdy, yet has a virtually common charm in its mirrored image of the pains and tribulations of daily life. 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 vital connections among the human and the Blues that might entice track enthusiasts and philosophers alike.Content:
Chapter 1 Talkin' to Myself back (pages 1–15): Joel Rudinow
Chapter 2 Reclaiming the air of secrecy (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 creative 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 artwork (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 agony, Spirituality, and Sensuality (pages 131–141): Joseph J. Lynch
Chapter thirteen caring the road (pages 142–152): Kimberly R. Connor
Chapter 14 woman 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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Additional resources for Blues - Philosophy for Everyone: Thinking Deep About Feeling Low
In effect, audio recordings are a superior mode of notation because they are more democratic than written scores. Furthermore, recordings aid in our emotional investment in the aura of our favorite artists. For example, I had seen countless cover bands perform my favorite Rolling Stones songs, but when I saw the Rolling Stones themselves play live I felt that I was in the presence of the authentic, the true aura of the Rolling Stones, even though I had only previously heard them through recordings.
Since there is no score, one cannot depend upon faithfulness to a score to judge accuracy of intent, or locate its identity. The basic structure of the blues is an AAB lyrical form, sometimes called bar form. ) In AAB form, the first line is stated over four bars (A) and repeated over the next four bars (A), then a concluding line is stated over the final four bars (B). indd 20 KEN U ENO 9/23/2011 2:02:58 AM Banner’ is one of the most famous examples of AAB form. ’ (1963), one of B. B. King’s signature songs, composed by Leonard Feather: (A) I’ve been down hearted, baby Ever since the day we met (A) I’ve been down hearted, baby Ever since the day we met (B) Our love is nothing but the blues Baby, how blue can you get?
7 But with Cream, although he was using blues materials (most famously Robert Johnson’s ‘Crossroads’), Clapton was moving in a whole new musical direction: the guitar-centric rock power trio. The same goes for Jimi Hendrix. indd 11 11 9/23/2011 2:03:03 AM focus from the singer and the lyric to the instrument and its virtuosic manipulation! Me: Canons to the left of me, canons to the right. And only moments ago one canon was making you cringe. Myself: It still does seem odd to me to be talking about a blues canon.
Blues - Philosophy for Everyone: Thinking Deep About Feeling Low by Jesse R. Steinberg