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The Chord That Dies When it’s Born. Alterity and Ethics on Body without Organs in Jazz Improvisation

2020; Universidad del Norte, Colombia; Issue: 32 Linguagem: Inglês

10.14482/eidos.32.170

2011-7477

José Manuel Romero Tenorio, Davide Riccardi, Carolina Buitrago Echeverry,

Literary and Cultural Studies

espanolNos adentramos en esos procesos de subjetivacion en los que el musico de jazz experimenta en si otras formas de corporalidad, que se dirimen entre sujecion a esquemas (Bourdieu) y ruptura de los corses por una teatralidad en escena (Artaud). Aparentemente, en la improvisacion prima lo subversivo y la reificacion del musico como autor libre; sin embargo, observamos empiricamente una corporalidad plural que trasciende el espacio de la escena y que facilita que todos los actores (musicos, tecnicos, publico e investigadores) intervengan en el proceso de creacion. Hallamos una red de solidaridad que desplaza continuamente los puntos fijos por donde transita la musica; asi, cuando a un musico le falta el aire, su companero le da el relevo. Si lo fundamental en la praxis de la musica son las continuas alternativas que ofrece, concluimos con una reflexion etica sobre la naturaleza transitoria de la musica y su temporalidad kairologica, en la que el musico, sintiendo la brevedad del instante de la nota que muere cuando nace, se reencuentra con lo insignificante de la que esta hecha su condicion humana. EnglishWe enter these processes of subjectivation in which the jazz musician experiences in himself other forms of corporeality, which are settled between subjection to schemes (Bourdieu) and breakup of the corsets by a theatricality on stage (Artaud). Apparently, in improvisation what is subversive and the reification of the musician as a free author take priority; nevertheless, we empirically observe a plural corporeality that goes beyond the space of the scene and that facilitates that all the actors (musicians, technicians, audience and researchers) take part in the process of creation. We found a solidarity network that continuously displaces the fixed points where music circulates; thus, when a musician is short of breath, his partner takes over. If what is fundamental in the praxis of music is the continuous alternatives it offers, we conclude with an ethical reflection on the transitory nature of music and its kairological temporality, in which the musician, feeling the briefness of the instant of the note that dies when it is born, joins the insignificance of his human condition.