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• allusive, intertextual capacity of music as a communicative discourse;
• Paul Berliner's monumental Thinking in Jazz (1994), an ethnographic study of jazz improvisation,
• (4) the idea that ethnic identities, skin colors, class stratification, and musical identities do not map neatly onto one another, as an essentialized notion of cultural identity or race might presume, but are heavily mediated by cultural activities and social experience.
• The interactive creation of music and of cultural heterogeneity and identity are viewed as interrelated.
• The chapter closes by employing Michael Silverstein's (1993) theory of metapragmatics to summarize the interrelationships among musical structures, the indexical (or allusive) capacities of music, and the contribution of sound to music's function as a culturally engaged and emotional discourse. Silverstein's ideas, I argue, offer a glimpse of what ...