Ontmeta00. Test page
Notice that they appear to concede that if one could come up with a definition of jazz that could provide “a more unified account” because it “picks out the condition in virtue of which the things in question count as things of the kind in question” that this would “be preferred in such cases.”
“Perhaps a serviceable, accurate, future-proof characterization of our folk conception that respects the fuzziness of the boundaries is recoverable from our intuitions and classificatory trends, but surely it would invoke properties other than sonic and experiential ones. It might be a recursive-historical definition that details how an event gets to be jazz if it is suitably related to prior jazz. A successful definition of this kind would plot a pattern through the evolution of our conception, revealing either deep stability in that conception or a network of different, but related, conceptions that change and cross-fertilize in ways that can be explained systematically. Alternative characterizations would say that an event gets to be jazz just when or to the extent that it performs a particular function in our cognitive or social lives or is accepted as jazz by a relevant institution. Because of the unruliness and consequent unpredictability of jazz’s development, I doubt that any definer could reliably discern a recursively describable historical pattern or diachronically stable function. Perhaps an institutional definition would fare better, but such definitions are subject to well-known difficulties, and I will not speculate here about the prospects of characterizing our conception of jazz in this way. What matters for what follows is that, because of border skirmishes and especially future uncertainties, we cannot usefully define our conception of jazz solely in terms of sonic or experiential properties or intentions like those that Kania invokes in his definition of music. (bold not in original)
- "What is Music? Is There A Definitive Answer?," Jonathan McKeown-Green, The Journal of Aesthetics and Art Criticism, Vol. 72, no. 4, September, 2014, p. 398.