| List of Video Excerpts |
xi |
| Preface |
xiii |
| Acknowledgments |
xv |
| Introduction |
1 |
| Self and Other |
1 |
| Researcher's Context |
3 |
| Sources of Explanation and the Use of Language |
8 |
| Thoughts on Style Definitions |
11 |
Words and MusicBWords and Pictures: The Role
of Video Recordings |
18 |
| Reflexive Thoughts on the Nature of this Monograph |
21 |
| Case Study and the Dissemination of Knowledge |
21 |
| Presentation and Persuasion |
24 |
| Theoretical Considerations |
26 |
| Structure of this Book |
28 |
| I Getting into the Groove |
30 |
| II We're Jammin' |
67 |
| Clinical Origins |
30 |
| Working on the Guitar 1: Groove and Rhythm Section
Therapy |
33 |
| Groove |
33 |
| Country to Rock |
37 |
| Musical Style, Style Characteristics, and Shared Conventions |
43 |
| Working on the Drums 1: Origins and Rocking |
49 |
| Working on the Drums 2: Swinging |
53 |
| Participatory Discrepancies and Groove |
53 |
| Jazz Drums |
59 |
| The Turnaround |
63 |
| Assessing the Development of the Ensemble |
65 |
Attributes of Jamming in Rock and Related
Styles
|
67 |
| Energy, Intensity, Force, and Tension in Improvisation |
71 |
| Working on the Guitar 2: Jamming |
76 |
| Working on the Guitar 3: Internal Explorations and
Expressions |
82 |
| Melody and Identity |
84 |
| Transitional Musical Space |
88 |
| Liminality and Communitas |
91 |
III Moving toward Mutuality
|
100 |
| Vital Drive |
100 |
| Working on the Piano 1: Establishing Stability |
103 |
| Working on the Piano 2: Variations in Style and Phrasing |
106 |
Working on the Piano 3: The Evolution of Style in
Developing Identity |
110 |
| The Rock Style and Identity Formation |
110 |
| Style Extensions |
112 |
| Developing an Individualized Style |
113 |
Bringing Lloyd into the Musical Foreground:
Stylistic Maneuvers |
116 |
| Participation and Participatory Consciousness |
124 |
Conclusion
|
127 |
| Epilogue |
131 |
| References |
133 |
| Subject Index |
135 |
| Author Index |
139 |
