Jazz improvisation is as dependent on the use of pre-existing riffs as it is on extemporaneous creation. These riffs create, establish, and reference genres, and provide an extra-temporal aspect to the moment of performance. The re-appropriation of these musical fragments transforms their meaning and purpose in jazz convention. This paper looks toward the work of Anthony Braxton, Cecil Taylor, Sun Ra, Marilyn Crispell, and Charlie Parker in order to clarify how the cultural context of particular riffs influences which improvisational languages are deemed ‘legitimate’. It also questions how such ‘legitimacy’ functions in a genre defined by constant evolution. Using writings from Frederic Jameson, Rosalind Krauss, LeRoi Jones, Donna Haraway, and Jürgen Habermas, I consider the riff as postmodernist tool, a repetitious device that speaks not to the dream of a common language, but the unity or crisis of differing voices.

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“一堆即兴演奏”：语言、后现代性和即兴音乐中的包容性政治

爵士即兴创作既依赖于即兴创作，也依赖于预先存在的即兴演奏。这些即兴演奏创造、建立和参考流派，并为表演时刻提供超时间的方面。这些音乐片段的重新使用改变了它们在爵士乐惯例中的意义和目的。本文着眼于 Anthony Braxton、Cecil Taylor、Sun Ra、Marilyn Crispell 和 Charlie Parker 的工作，以阐明特定即兴演奏的文化背景如何影响哪些即兴语言被视为“合法”。它还质疑这种“合法性”如何在不断演变的流派中发挥作用。使用 Frederic Jameson、Rosalind Krauss、LeRoi Jones、Donna Haraway 和 Jürgen Habermas 的著作，我认为即兴演奏是后现代主义的工具，