Composing a Community: Collaborative Performance of a New Democracy

Research on this subject was supported by the Utah Humanities Council's 2009 Delmont R. Oswald Fellowship.

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Notes

Research on this subject was supported by the Utah Humanities Council's 2009 Delmont R. Oswald Fellowship.

¹ See Mark Mattern, Acting in Concert: Music, Community and Political Action (New Brunswick, NJ and London: Rutgers University Press, 1998), especially p. 36.

² Nancy S. Love, Musical Democracy (Albany, NY: State University of New York Press, 2006), p. 1.

³ Mattern, Acting in Concert, p. 13.

⁴ Daniel Kemmis, The Good City and the Good Life (Boston and New York: Houghton Miflin, 1995), pp. 149–150.

⁵ Paul F. Berliner, Thinking in Jazz: The Infinite Art of Improvisation (Chicago and London: University of Chicago Press, 1994), p. 216.

⁶ Ingrid Monson, Saying Something: Jazz Improvisation and Interaction (Chicago and London: University of Chicago Press, 1996), p. 183.

⁷ Ibid., p. 215.

⁸ Daniel Kemmis, Community and the Politics of Place (Norman, OK and London: University of Oklahoma Press, 1990), p. 53.

⁹ Ibid., 56.

¹⁰ John Blacking, Music, Culture, and Experience: Selected Papers of John Blacking (Chicago and London: University of Chicago Press, 1995), p. 228.

¹¹ Ibid., 231.

¹² John Blacking, How Musical is Man? (Seattle and London: University of Washington Press, 1973), p. 47.

¹³ Benjamin Barber, Strong Democracy: Participatory Politics for a New Age (Berkeley, Los Angeles and London: University of California, 1984, 2003), p. 175.

¹⁴ Mark Evan Bonds, Music as Thought (Princeton: Princeton University Press, 2006), pp. xiv–xv.

¹⁵ Ibid., xviii.

¹⁶ Ibid., 12.

¹⁷ Ibid., 29.

¹⁸ Daniel J. Levitin, The World in Six Songs: How the Musical Brain Created Human Nature (New York: Dutton, 2008) p. 15.

¹⁹ Leonard B. Meyer, Style and Music: Theory, History, and Ideology (Chicago and London: University of Chicago Press, 1989), pp. 50–51.

²⁰ Jerome Bruner, The Culture of Education (Cambridge, MA and London: Harvard University Press, 1996), p. 161.

²¹ Berliner, Thinking in Jazz, p. 178.

²² Ibid., 172.

²³ Ibid., 185–186.

²⁵ Ibid., 17.

²⁴ Daniel Fischlin and Ajay Heble, The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue (Middletown, CT: Wesleyan University Press, 2004), p. 11.

²⁶ Michael Ryan, “The Man Who Brought Civility Back to Town,” Parade Magazine, November 2, 1997, p. 14.

²⁷ The five scholars were Daniel Kemmis, William Kittredge, Terry Tempest Williams, Thomas Lyon, and Jordan Paul.

²⁸ Marc Redfield, The Politics of Aesthetics: Nationalism, Gender, Romanticism (Stanford, CA: Stanford University Press, 2003), p. 16.

²⁹ Monson, Saying Something, p. 153.

³⁰ Ibid., 69.

³¹ Ibid., 1.

³² Pierre Bourdieu, Outline of a Theory of Practice (Cambridge: Cambridge University Press, 1977), p. 72.

³³ Utah Democracy Project, < http://www.uvu.edu/ethics/utahdemocracyproject/>.

³⁴ Redfield, Politics of Aesthetics, p. 16.

³⁵ Meyer, Style and Music, p. 299.

³⁶ Monson, Saying Something, p. 34.

³⁷ From the Utah Humanities Council's nomination of “Embracing Opposites” for the 1992 Helen and Martin Schwartz Prize for Public Humanities Programs (which it won).

³⁹ Chantal Mouffe, The Democratic Paradox (London and New York: Verso Books, 2005), pp. 103–104.

³⁸ Blacking, Music, Culture, and Experience, p. 224.

⁴⁰ Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge, MA and London: Harvard University Press, 1976), p. 225.

⁴¹ Jacques Barzun, Critical Questions: On Music and Letters, Culture and Biography, 1940–1980 (Chicago and London: University of Chicago Press, 1982), p. 159.

⁴² Jeremy Rifkin, The Empathic Civilization: The Race to Global Consciousness in a World in Crisis (New York: Jeremy T. Parcher/Penguin, 2009), p. 573.

⁴³ Daniel J. Levitin, This is Your Brain on Music: The Science of a Human Obsession (New York: Plume, 2006), p. 5.

⁴⁴ Meyer, Style and Music, p. 139.

⁴⁶ Mouffe, Democratic Paradox, pp. 33–34.

⁴⁵ Bernstein, Unanswered Question, p. 193.

⁴⁷ Meyer, Style and Music, p. 304.

⁴⁸ Sarah B. Van de Wetering, “A Seamless Canyon: Zion National Park and Springdale, Utah, Discover the Powers of Partnership,” Chronicle of Community 3:2 (Winter, 1999), pp. 5–6.

⁴⁹ Kemmis, Community and the Politics of Place, p. 111.

⁵⁰ Barber, Strong Democracy, p. 200.

⁵¹ Jacques Attali, Noise: The Political Economy of Music (Minneapolis and London: University of Minnesota Press, 1985), p. 134.