View full-textĪls Alfred Weber im Sommer 1907 an die Universität Heidelberg berufen wurde, zählte er bereits zu den bekanntesten Vertretern seines Faches. This comparison of Dante and Rorty can have larger pedagogical aims, helping students to understand better what Albert William Levi calls “the moral imagination” and deepening their appreciation of how metaphors and paradigms of moral excellence provide, or fail to provide, an overriding unity and purpose to our actions. The former convincingly shows that the structure of action reveals the truth of the well-known apothegm-“we reap what we sow.” The main point for Dante is not who is rational (for even the rational can be vicious, as depicted in the Inferno), but whose aims actually fulfill the practical life.
life is understandable only in light of affirming life-aims. This paper elucidates the structure of moral action by arguing that Dante’s explanation in the Inferno of why people end up in their respective circles of hell is superior in terms of accounting for the structure of moral reasoning to Richard Rorty’s promotion of the “liberal ironist.” The latter suffers an internal contradiction-it wants a well-lived life without any overriding aims, but such a.
A talented artist with a decidedly unique story, Ted Brown serves to remind us that some of the most interesting voices of jazz can be of those few people recognize. An examination of his musical life lends insight into what Nat Hentoff called 'the jazz life', as well as into the practical application of Tristano's pedagogical methods. A unique and melodic improviser and composer who contributed several tunes to the Tristano canon, Brown managed to reach the highest levels of jazz performance while simultaneously working a full-time day job. Never quite as successful or well known as fellow Tristano students Lee Konitz and Warne Marsh, Brown nonetheless participated fully in the musical culture that grew up around Tristano's Manhattan studio. Ted Brown, tenor saxophonist and former student of pianist / educator Lennie Tristano, is such a player. Though certainly not the first to emphasize the importance of mental conditioning and imaginative practice methods, Tristano’s use of them within a methodology for jazz instruction constitutes a unique pedagogical approach worthy of further research and discussion.Īmid the mass of jazz scholarship which still concentrates on the most famous architects of the music (Parker, Davis, Coltrane etc) it is all too easy to overlook the contributions of less recorded and commercially successful artists. Recent studies in brain plasticity bear out Tristano’s intuitive use of mental techniques as a useful addendum to more traditional forms of instrumental and compositional practice. Visualization techniques also served to extend available practice time for students who lacked space suited to audible instrumental practice, and to those who were working day jobs and had limited time available for instrumental practice. These methods enabled students to separate imaginative musical experiences from the habits of muscle memory, while at the same time speeding the acquisition of certain digital techniques and developing the musical imagination. Chief among these unorthodox pedagogical devices was the use of visualization and other mental techniques for musical practice and composition. In doing so, he employed a methodology which was considered highly unorthodox at the time and which is still somewhat unique for jazz pedagogy. In the 1940s, pianist Lennie Tristano was among the first to attempt to teach jazz improvisation as an area of study distinct from instrumental technique.
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