Eth5. How jazz relates to ethics
Jazz Improvisation and Ethics
☀ Hagberg, Garry L. “Jazz Improvisation and Ethical Interaction: A Sketch of the Connections.” Art and Ethical Criticism. Edited by Garry L. Hagberg. Oxford: Blackwell, 2008.☀
“How much control musicians have over their works is another issue that needs to be raised, as authorship has consequences in analysis. In the case of a concert that has been transcribed, if the performers validate the eventual changes made through the recording process, the concert itself and the recording become two distinct objects and it matters to ensure that the recording bears the stamp of the lead performer. If the lead performer has not been able (in the case of posthumous releases in particular) or has refused to approve a recording, the analyst has to face ethical issues rather than theoretical ones. Technically, nothing stops us from analyzing a recording that we know is not fake, but is it right to do so if the main performer has not been able or has refused to take responsibility for it? In such cases, a recording is a work in itself but it is difficult to state who it is by. In other words, does a work need to be validated by its creator to be defined as his or her work?” (bold and bold italic not in original)
- Laurent Cugny, Analysis of Jazz: A Comprehensive Approach, translated by Bérengère Mauduit (Jackson: University Press of Mississippi, 2019), 16-17. Originally published in 2009 by Outre Mesure as Analyser le jazz © 2009 by Éditions Outre Mesure. This edition of Analysis of Jazz: A Comprehensive Approach is published by arrangement with Éditions Outre Mesure.