Relevant bibliographies by topics / Global jazz

Academic literature on the topic 'Global jazz'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Global jazz"

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Dorin, Stéphane. "Editorial: The Global Circulations of Jazz." Jazz Research Journal 10, no. 1-2 (July 18, 2016): 5–12. http://dx.doi.org/10.1558/jazz.v10i1-2.29354.

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Paliy, Iryna. "Jazz in the context of «global village» principle." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 40–56. http://dx.doi.org/10.34064/khnum2-27.03.

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This article addresses one of the manifestations of interaction between different music domains, using the sphere of jazz as an example. In the course of evolution, the art of music has developed five relatively independent domains based on fundamentally different principles of musical thought. Globalization, which has intensified in the 20th century and continues to grow in the 21st, gave birth to a new domain called by us “unionique music”. This domain is the object of our research. The relevance of this study stems from the fact that unionique music compositions do not fit the standard principles of genre classifications used by academic music scholars. At the same time, an important feature that unites these compositions is the combination of such spheres of music as jazz, rock, “traditional” music of Western European academic tradition, ethnic music and folklore. Nevertheless, the degree of impact of a particular music domain in different compositions has different indicators. This article focuses on the analysis of unionique music compositions that contain expressive means of various domains, but at the same time are founded on the jazz-based principle of music playing.
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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.
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Steinmetz, Uwe. "Fragile Faith." Poetics Today 41, no. 3 (September 1, 2020): 417–36. http://dx.doi.org/10.1215/03335372-8519656.

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Jazz, today a broadly defined, global form of improvised music, remains a music between heaven and earth, with its roots in both nightclubs and churches. Jazz can be dance music, as well as music that triggers emotions, memories, and subjective images. It can also lead to experiences of transcendence. In which ways, though, do jazz artists connect their spiritual and religious experiences and beliefs with their individual musical language? In contrast to Western, composed sacred music, jazz generates religious meaning through its improvisatory practices, which unfold differently in each performance, depending on the performers, listeners, and performance spaces. Often, jazz musicians feel the poetic quality of their music to reside in the ambiguity and “fragile” religiosity of their music. This article discusses from a historical and contemporary perspective the “fragilization” processes at work in religiously inspired jazz. It distinguishes different levels of religious meaning, purpose, and spiritual experience. In so doing, it explores productive resonances between the characteristics of jazz and Paul Corrigan’s definition of “postsecular” American poetry written in the late twentieth and early twenty-first centuries.
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Salley, Keith. "Ordered Step Motives in Jazz Standards." Journal of Jazz Studies 8, no. 2 (March 17, 2013): 114. http://dx.doi.org/10.14713/jjs.v8i2.42.

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The focus of this study is the melodic motive. It uses a tool called the Ordered Step Motive (OSM) to investigate the way linear motives give shape to jazz compositions that have frequently changing tonal centers, nonfunctional chord connections, no clear global tonics, or structurally open, circular forms. This study contributes to the written body of theoretical knowledge about jazz composition by engaging with current scholarship on tonal ambiguity, circular form, and motivic associations between melody and harmonic organization. This study also invites further research into the relationship between common riffs and underlying structure in jazz composition, which may reveal crucial differences between standards written by Broadway and Tin-Pan-Alley composers and those written by practicing jazz musicians.
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Buck, Brandan P. "‘The Mortar Between the Bricks’: Willis Conover and Global Jazz." Jazz Perspectives 10, no. 2-3 (September 2017): 185–206. http://dx.doi.org/10.1080/17494060.2017.1408479.

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Havas, Ádám. "The logic of distinctions in the Hungarian jazz field: a case study." Popular Music 39, no. 3-4 (December 2020): 619–35. http://dx.doi.org/10.1017/s0261143020000537.

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AbstractThis study aims to make the contemporary Hungarian jazz field the focus of a sociological investigation, based on a critical reinterpretation of Bourdieu's relational theory of artistic fields. It aims to grasp the logic of symbolic distinctions by analysing the free/mainstream dichotomy. This dichotomy of historically constituted poles is understood as a system of structuring oppositions that play a decisive role in the position-takings and prestige-construction of jazz musicians. The analysis of qualitative data shows how different evaluations and interpretations of shared musical references are instrumentalised in order to occupy positions in the field. Further, this article argues that such a qualitative analysis of local jazz fields transcends the national context, since culturally hybrid jazz diasporas offer an excellent terrain for analysing how the circulation of transnational artistic references influences the cultural dynamism of local fields that are embedded within global networks of cultural production.
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Cecil, Malcolm. "Local Jazz and the Exigencies of Global Tourism: A Critical View of Le Festival International de Jazz de Montréal." Quebec Studies 26 (October 1998): 99–115. http://dx.doi.org/10.3828/qs.26.1.99.

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Stowe, David W. "Both American and Global: Jazz and World Religions in the United States." Religion Compass 4, no. 5 (May 2010): 312–23. http://dx.doi.org/10.1111/j.1749-8171.2009.00212.x.

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Ge, Ken Tianyuan. "Ship of Darkness: Jazz and/as Affect in the Global Cruise Industry." Jazz and Culture 5, no. 2 (December 1, 2022): 21–48. http://dx.doi.org/10.5406/25784773.5.2.02.

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Dissertations / Theses on the topic "Global jazz"

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Weiß, Norman. "Nicole Janz/Thomas Risse (Hrsg.), Menschenrechte – Globale Dimension eines universellen Anspruchs [rezensiert von] Norman Weiß." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2009/3697/.

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Chao, Yen-Ting, and 趙彥婷. "Fusion is Inside of Yourself: Nguyễn Lê & Sizhukong’s Global Fusion Jazz." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/a2x287.

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碩士
國立臺灣大學
音樂學研究所
99
In the development of jazz, the musicians, in order to broaden their jazz expressionism, constantly draw materials from other musical genres and cultures, and has made the contemporary jazz scene presenting its various appearances. Such phenomenon, resulting in ‘Fusion,’ arose many discussions. The previous discourses mostly focused on Fusion’s ‘authenticity’ and ’commercialism’ issues involved, few focused on its demanding technique in reality. However, different types of jazz fusion project inevitably bring about different technical challenges that either the composers or the individual performers ought to cope with. The paper points out that the ones who deal with disparate cultures, undertaking the music termed ‘global fusion jazz,’ must be aware of the incongruous concept toward ‘improvisation’ held in different traditions which calls for negotiation and adjustment in order to balance the differences. This paper takes the Vietnamese- French guitarist Nguyễn Lê and The Taiwanese experimental jazz band ‘Sizhukong’ as examples, exploring their encountering challenges and the coping methods, respectively from the composer’s and the traditional instrumentalists’ perspective. Basing on the observations, the paper argues that jazz is in its nature with high potential to be hybrid and the commonality of jazz seems hard to exsist in the external features within an creative object; rather, in the creative act in which an experimental spirit retains innovation and individuality.
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Helm, Hammonds Lenora. "A jazz orientation of the Three-Dimensional Developmental Trajectory of the intercultural maturity model." Thesis, 2021. https://hdl.handle.net/2144/43094.

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In this case study, The King and Baxter Magolda (2005) Intercultural Maturity Model was utilized as the explanatory framework for the development of intercultural maturity in a globally networked learning environment (GNLE) with college students. Through ethnographic data collection strategies and qualitative analysis of interviews, observations, narrative inquiry, and student artifacts, I explored the developmental stages of the intercultural maturity of study participants in a GNLE with college students from three international universities in South Africa, Europe, and the United States. I sought to determine if any relationship existed between the development of intercultural maturity and the study of jazz. This research inquiry represented a distinct opportunity to examine if student activities in jazz subjects might ground new theories for the attainment of intercultural maturity. A globally networked classroom of jazz students presented a salient opportunity to observe if interactant traits could mature, instigated through jazz curricula, and whether such a model had explanatory potential in a web-based context. The findings were instructive for considerations comparative to traditional developmental models of intercultural maturity, with a particular focus on the efficacy of asynchronous and synchronous student interactions within the activities. The context of a GNLE, an interesting alternative to study abroad when considered as a teaching and learning paradigm instead of just a technology modality, facilitated rich descriptions and data to gauge students’ demonstration of the domains of the King and Baxter Magolda (2005) Intercultural Maturity Model. Adding jazz curricula and pedagogy to the GNLE environment, situated between cohorts geographically apart, allowed for a reimagining of the King and Baxter Magolda Intercultural Maturity Model to A Jazz Orientation of the Three-Dimensional Developmental Trajectory of the Intercultural Maturity Model.
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Books on the topic "Global jazz"

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Deconstructing post-WWII New York City: The literature, art, jazz, and architecture of an emerging global capital. New York: Routledge, 2003.

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Storia del jazz: Una prospettiva globale. Viterbo: Stampa alternativa/Nuovi equilibri, 2012.

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Global Jazz: A Research and Information Guide. Routledge, 2021.

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Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Taylor & Francis Group, 2021.

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Nicholson, Stuart. Jazz and Culture in a Global Age. Northeastern University Press, 2014.

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Jazz and Culture in a Global Age. Northeastern, 2014.

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Henry, Clarence Bernard. Global Jazz: A Research and Information Guide. Routledge, 2021.

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Saito, Yoshiomi. Global Politics of Jazz in the Twentieth Century. Taylor & Francis Group, 2019.

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Book chapters on the topic "Global jazz"

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Henry, Clarence Bernard. "Europe." In Global Jazz, 111–210. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-3.

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Henry, Clarence Bernard. "South America/Latin America and Caribbean." In Global Jazz, 62–110. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-2.

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Henry, Clarence Bernard. "North America: United States and Canada." In Global Jazz, 1–61. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-1.

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Henry, Clarence Bernard. "Australia, New Zealand, and Oceania." In Global Jazz, 300–342. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-6.

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Henry, Clarence Bernard. "Asia." In Global Jazz, 259–99. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-5.

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Henry, Clarence Bernard. "Africa and Middle East." In Global Jazz, 211–58. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003154969-4.

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Prieto, Eric. "Jazz Fiction in Global Context." In The Routledge Companion to Music and Modern Literature, 337–47. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367237288-33.

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Saito, Yoshiomi. "Jazz ambassadors revisited." In The Global Politics of Jazz in the Twentieth Century, 45–64. Abingdon, Oxon ; New York, NY : Routledge, 2020. |Series: Routledge advances in international relations and global politics ; 144: Routledge, 2019. http://dx.doi.org/10.4324/9780429060595-4.

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Frigeri, Flavia. "All That Jazz." In New Histories of Art in the Global Postwar Era, 232–43. Names: Frigeri, Flavia, editor. | Handberg, Kristian, editor. Title: New histories of art in the global postwar era: multiple modernisms / Flavia Frigeri and Kristian Handberg. Description: New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-21.

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Saito, Yoshiomi. "Making jazz great again." In The Global Politics of Jazz in the Twentieth Century, 152–64. Abingdon, Oxon ; New York, NY : Routledge, 2020. |Series: Routledge advances in international relations and global politics ; 144: Routledge, 2019. http://dx.doi.org/10.4324/9780429060595-9.

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Conference papers on the topic "Global jazz"

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Pawan, Marry Tracy, and Juliana Langgat. "IMPACT OF COVID-19 ON EVENT INDUSTRY: EVENT AUDIENCE READINESS TOWARDS EVENT DIGITIZATION." In GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.056.

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For the event organiser, Sabah is one of the states that becomes a focal point. As Sabah is one of the most popular tourist destinations, several large events such as the Sabah Jazz Festival, Pesta Lepa-lepa, Pesta Kaamatan, Pesta Kalimaran, and other festivals have been held. However, COVID 19’s disruptive impacts have had such a significant impact on the event sector. Most of the events are getting cancelled or postponed all over the world. Over the past several months, a significant number of meetings and conferences have been redesigned as virtual events. However, the event industry needs to know the readiness of the public towards the shifting from the physical to the digital. Therefore, the objective of this research is to determine the event audience readiness for digital events. It is important for the event industry to know the readiness and a good online platform in providing a good service to their audience. A quantitative method was used to conduct this study. The main finding will see how far our communities is ready to adapt the new norm. Based on the finding it shows that event audience are willing to adopt the event digitisation, and this is due to the impact of the COVID 19pandemic which was accelerating changes in event audience behaviour. This research will benefit the event organisers and help them prepare strategic plana to cater to the audience needs.
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Ryu, Sam, Arun S. Duggal, Caspar N. Heyl, and Zong Woo Geem. "Mooring Cost Optimization via Harmony Search." In ASME 2007 26th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2007. http://dx.doi.org/10.1115/omae2007-29334.

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A mooring system optimization program has been developed to minimize the cost of offshore mooring systems. The paper describes an application of the optimization program constructed based on recently developed harmony search optimization algorithm to offshore mooring design which requires significant number of design cycles. The objective of the anchor leg system design is to minimize the mooring cost with feasible solutions that satisfy all the design constraints. The harmony search algorithm is adopted from a jazz improvisation process to find solutions with the optimal cost. This mooring optimization model was integrated with a frequency-domain global motion analysis program to assess both cost and design constraints of the mooring system. As a case study, a single point mooring system design of an FPSO in deepwater was considered. It was found that optimized design parameters obtained by the harmony search model were feasible solutions with the optimized cost. The results show that the harmony search based mooring optimization model can be used to find feasible mooring systems of offshore platforms with the optimal cost.
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