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1
Ayers, David. "Jazz: Music and Background." Journal of American Studies 27, no. 3 (December 1993): 409–15. http://dx.doi.org/10.1017/s0021875800032102.
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Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (December 1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.
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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole corpus of work. Morrison herself has acknowledged the centrality of a musical aesthetic to her work in interview after interview long before the publication of Jazz:…a novel written a certain way can do precisely what spirituals used to do. It can do exactly what blues or jazz or gossip or stories or myths or folklore did – that stuff which was a common wellspring of ideas…Morrison is writing out of an oral tradition which foregrounds musical performances as well as other oral forms. Some critics have acknowledged the importance of jazz to her work, notably Anthony J. Berret in his article “Toni Morrison's Literary Jazz”. But, despite some provocative and illuminating comments, his is not a systematic account of the use of a jazz mode in Morrison's fiction and I wish in this paper to attempt a more rigorous analysis of her early novels, outlining her willed use of a jazz aesthetic as a pivotal structural device.
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Scott, E. K. Ellington, and Jonas Braasch. "Computational aspects of real-time auralizations of jazz venues." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A280. http://dx.doi.org/10.1121/10.0023524.
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Historically, architectural acoustics has focused on concert halls for European Classical music, even though other genres, including rock, blues, and Jazz, have large groups of followers as well. Additionally, the acoustic requirements for European Classical music differ fundamentally from Jazz and other music. For example, Jazz venues are typically smaller and dryer than a traditional European Classical concert hall. A recent survey showed that reverberation in these venues plays a secondary role to parameters that describe the affordance of a space to allow communication between improvising musicians. This presentation focuses on the unique computational auralization aspects of Jazz venues, including wave-based approaches for smaller enclosures, low-latency requirements, intelligent accompanying systems that can adapt ad-hoc to jazz soloists, and the use of anechoic jazz recordings as source material. The adequacies of different reproduction systems, from higher-order ambisonics and wave-field synthesis to headphone-based systems, will also be discussed. [Work supported by James West Fellowship, Leo and Gabriella Beranek Scholarship, and NSF HCC-1909229.]
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Dobrota, Snježana, and Ina Reić Ercegovac. "Music preferences with regard to music education, informal influences and familiarity of music amongst young people in Croatia." British Journal of Music Education 34, no. 1 (October 25, 2016): 41–55. http://dx.doi.org/10.1017/s0265051716000358.
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The aim of this research was to investigate the relationship between music preference and music education, informal influences (attending classical music concerts and musical theatre productions) and familiarity of music. The research included students of the Faculty of Humanities and Social Sciences, University of Split (N=341)1. The results showed that participants usually listen to popular music in their leisure time and that popular music is their most preferred music style. A positive relationship between familiarity and preferences was found but this effect was not unambiguous. A relationship between music preferences and secondary school music education was not found, but those participants who attended music school preferred some music styles more than did those participants who did not attend music school. There was a significant correlation found between the frequency of attending classical music concerts and preferences for classical music, jazz and world music. Finally, the results indicated that people who frequently attend musical theatre productions have significantly higher preferences for jazz and world music. The authors pointed to the problem of unattractiveness of music lessons in secondary schools and suggest possible solutions to the problem.
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FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act." Journal of American Studies 45, no. 1 (July 19, 2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.
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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician's individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a “high” art. While there remains a vocal contingent of critics arguing against the JPA's definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America's music.
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Scott, E. K. Ellington. "Drums speak too: An examination of modern percussion instruments in the jazz idiom." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011036.
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Jazz has been a leading force in the evolution of music in the United States. The complexity of rhythmic and harmonic languages has grown from the birth of jazz improvisation. Modern percussion instruments played a fundamental role in the development of rhythmic language. Improvised figures between the soloist and sectionals have cultivated a vocabulary still utilized by modern drummers and percussionists today. Moreover, evolving styles matured into a more sophisticated language, demanding a more refined instrument. This presentation explores the development of modern percussion instruments within jazz and improvised music, focusing on the historical and cultural aspects impacting the evolution of percussion instruments. Investigations of stylistic approaches and influences on musical styles will also be examined.
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Wells, Christopher J. "“You Can't Dance to It”: Jazz Music and Its Choreographies of Listening." Daedalus 148, no. 2 (April 2019): 36–51. http://dx.doi.org/10.1162/daed_a_01741.
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Central to dominant jazz history narratives is a midcentury rupture where jazz transitions from popular dance music to art music. Fundamental to this trope is the idea that faster tempos and complex melodies made the music hostile to dancing bodies. However, this constructed moment of rupture masks a longer, messier process of negotiation among musicians, audiences, and institutions that restructured listening behavior within jazz spaces. Drawing from the field of dance studies, I offer the concept of “choreographies of listening” to interrogate jazz's range of socially enforced movement “scores” for audience listening practices and their ideological significance. I illustrate this concept through two case studies: hybridized dance/concert performances in the late 1930s and “off-time” bebop social dancing in the 1940s and 1950s. These case studies demonstrate that both seated and dancing listening were rhetorically significant modes of engagement with jazz music and each expressed agency within an emergent Afromodernist sensibility.
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Early, Gerald. "Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s." Daedalus 148, no. 2 (April 2019): 67–82. http://dx.doi.org/10.1162/daed_a_01743.
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In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jazz audiences and for American society at large.
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Gabbard, Krin. "La La Land Is a Hit, but Is It Good for Jazz?" Daedalus 148, no. 2 (April 2019): 92–103. http://dx.doi.org/10.1162/daed_a_01745.
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The debates around La La Land (2016) tell us a great deal about the state of jazz today and perhaps even in the near future. Many critics have charged that the film has very little real jazz, while others have emphasized the racial problematics of making the white hero a devout jazz purist while characterizing the music of the one prominent African American performer (John Legend) as all glitz and tacky dance moves. And finally, there is the speech in which Seb (Ryan Gosling) blithely announces that “jazz is dead.” But the place of jazz in La La Land makes more sense if we view the film as a response to and celebration of several film musicals, including New York, New York (1977), the Fred Astaire and Ginger Rogers films, and especially Jacques Demy's The Young Girls of Rochefort (1967). Both La La Land and Demy's film connect utopian moments with jazz, and push the boundaries of the classical Hollywood musical in order to celebrate the music.
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival." European Journal of Cultural Studies 20, no. 2 (April 27, 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.
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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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ARNOLD-FORSTER, TOM. "Dr. Billy Taylor, “America's Classical Music,” and the Role of the Jazz Ambassador." Journal of American Studies 51, no. 1 (February 26, 2016): 117–39. http://dx.doi.org/10.1017/s0021875815002662.
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The idea of jazz as “America's classical music” has become a powerful way of defining the music, asserting its national and artistic value, and shaping its scholarly study. The present article provides a history of this idea through a close analysis of its primary theorist and most visible spokesperson, Dr. Billy Taylor. It argues that the idea was not a neoclassical and conservative product of the 1980s, but had important roots in the Black Arts imperatives of the later 1960s and early 1970s. It suggests that Taylor initially made the idea work inventively and productively in a variety of contexts, especially through his community arts project Jazzmobile, but that these contexts diverged as his public profile was stretched thin across and beyond the United States. The idea's disintegration into clichéd ubiquity in the mid-1980s then provides a critical perspective on the idea of the “jazz renaissance,” and an opportunity to consider the role of the jazz ambassador in the context of debates about African American intellectuals.
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Salamone, Frank A. "Jazz and Its Impact on European Classical Music." Journal of Popular Culture 38, no. 4 (May 2005): 732–43. http://dx.doi.org/10.1111/j.0022-3840.2005.00138.x.
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Solis, Gabriel. "Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions." Daedalus 148, no. 2 (April 2019): 23–35. http://dx.doi.org/10.1162/daed_a_01740.
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The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theory as well as on Amiri Baraka's analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that jazz matters not only in itself, but also in its continuing capacity to engage in cross-genre dialogues for musicians and audiences who hear it as part of a rich continuum of African American musical expression.
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Aigen, Kenneth. "Social interaction in jazz: implications for music therapy." Nordic Journal of Music Therapy 22, no. 3 (October 2013): 180–209. http://dx.doi.org/10.1080/08098131.2012.736878.
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Solli, Mattias, Erling Aksdal, and John Pål Inderberg. "Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 1)." Journal of Aesthetic Education 55, no. 4 (December 1, 2021): 82–122. http://dx.doi.org/10.5406/jaesteduc.55.4.0082.
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Abstract How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article picks up an assumption presented by Berliner (1994), suggesting that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing with imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural-imitation method draw on pedagogic experiences accumulated since 1979 in the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks.
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Solli, Mattias, Erling Aksdal, and John Pål Inderberg. "Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 2)." Journal of Aesthetic Education 56, no. 1 (April 1, 2022): 94–123. http://dx.doi.org/10.5406/15437809.56.1.06.
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Abstract How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article uses Berliner's assumption that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing them to the imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural imitation method draw on pedagogic experiences accumulated since 1979 at the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks.
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Brown, Lee B. "Adorno's Critique of Popular Culture: The Case of Jazz Music." Journal of Aesthetic Education 26, no. 1 (1992): 17. http://dx.doi.org/10.2307/3332724.
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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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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011033.
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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.
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Jackson, Jeffrey H. "Music-Halls and the Assimilation of Jazz in 1920s Paris." Journal of Popular Culture 34, no. 2 (September 2000): 69–82. http://dx.doi.org/10.1111/j.0022-3840.2000.3402_69.x.
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Li, Ang. "Historical Evolution of the Popularization of Classical Music and the Development of the Fusion of Multiple Musical Styles." Herança 7, no. 1 (December 21, 2023): 113–25. http://dx.doi.org/10.52152/heranca.v7i1.810.
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The historical evolution of classical music and its fusion with different musical genres is an important phenomenon in the field of music. The aim of this thesis is to explore the historical evolution of the popularization of classical music and its fusion with a variety of musical genres. First, we define the characteristics of classical and popular music. Then, we examine the development of classical music in the history of popular music, including its relationship to blues, jazz, and American country music. Next, we summarize the history of the fusion of classical and popular music and analyze contemporary examples. Finally, we discuss the impact and future trends of the popularization of classical music. By examining this topic, we can better understand trends in musical preferences and the role of classical music in music culture.
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Chung, Lauren, Angel O. Y. Wong, Lilly A. Leaver, Yuan He, and Sriram Boothalingam. "An acoustical environment survey of student music practice." Journal of the Acoustical Society of America 155, no. 2 (February 1, 2024): 1368–78. http://dx.doi.org/10.1121/10.0024862.
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Chronic exposure to loud sound leads to noise-induced hearing loss. This is especially common in collegiate-level musicians. Existing methods for estimating exposure typically do not consider genre- or instrument-specific variability in soundscape/spectral characteristics. We measured sound exposure levels (SELs) across instruments, bands, and genres at a university music school. We found (1) considerable variability in SELs across instruments and bands, (2) that Jazz musicians are consistently exposed to the highest sound levels, and (3) that spectral features of music differ between instrument type and genre, and based on room size. These findings highlight the need for tailored guidelines that moderate the implementation of hearing conservation initiatives for collegiate musicians.
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Sánchez-Seco, Fernando Centenera. "The Frankfurt Hot Club jazz band under the Nazis: much more than music." Law and Humanities 12, no. 2 (July 3, 2018): 184–203. http://dx.doi.org/10.1080/17521483.2018.1514948.
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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.
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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.
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Markham, Benjamin E., and Jonah Sacks. "Recital halls for K-12, higher education, and community music education: A trio of case studies." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A236. http://dx.doi.org/10.1121/10.0011176.
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The recital halls at Deerfield Academy, UMass Boston, and the Brattleboro Music Center each play a critical role at the center of the music education programs at these institutions. Deerfield's 160-seat Elizabeth Wachsman Concert Hall, at the independent high school's Hess Center for the Arts, is both intimate and warmly resonant, and features adjustable curtains at the stage to suit varying repertoire for rehearsal and performance, particularly of Deerfield's student music ensembles. The 150-seat recital hall at UMass Boston's University Hall serves an even wider array of ensembles, from classical choral to jazz, in a building that not only serves the Performing Arts Department but also Chemistry and other general-purpose classrooms; the adjustable curtains there surround the audience on all sides. In Brattleboro, a 331-seat recital hall is the crown jewel of a new community music center that also serves as the home to a Chamber Music Series and a range of ensembles including Juno Orchestra, a concert choir, chorale, and camerata, and the music center's “Educate. Open. Strengthen.” Program. These three rooms all serve critical pedagogical missions, but each with a different focus and a different set of needs and constraints that impact budget, architecture, and acoustical design considerations.
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Greenspan, Charlotte. "Hollywood as Music Museum & Patron: Bringing Various Musical Styles to a Wide Audience." Daedalus 142, no. 4 (October 2013): 73–81. http://dx.doi.org/10.1162/daed_a_00235.
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The role of Hollywood films in holding up a mirror–albeit sometimes a distorted one–to the American public is indisputable. Less discussed is their role in bringing a wide range of music–popular, classical, jazz, avant-garde, ethnic–to an unsuspecting audience. Whether the music is in the foreground, as in biographical movies about composers, for example, or in the background supporting the narrative, watching a movie educates the viewers' ears. Indeed, the role of movies in widening the public's aural palate has parallels with the role of art museums in broadening the public's visual taste. To supply the music needed for movies, Hollywood studios have employed a large number of composers of the most varied backgrounds, taking on a significant function as patron of contemporary music. This essay briefly examines some of the varied interactions of movies, music, and the public.
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Sacks, Jonah, and Benjamin E. Markham. "Modifying a recital hall to extend its range of use: A case study." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A236. http://dx.doi.org/10.1121/10.0011177.
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Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble, and some amplified forms. A 2017 study included acoustical measurements in the hall, listening sessions with eight different ensembles in the hall, and discussions with faculty and staff. These resulted in detailed recommendations for acoustical improvements and new audiovisual equipment. The school has completed two recommended acoustical improvements, with positive results: hinged absorptive wall panels surrounding the platform, and extended reflective canopy. Users report improved on-platform clarity for louder ensembles, and better self-hearing and presence of sound for downstage performance locations.
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Ahn, Si-hyeon. "A Study of the State of Applied Musicology Research －Focusing on Domestic Doctoral Thesis－." Korean Society of Human and Nature 5, no. 1 (June 30, 2024): 331–63. http://dx.doi.org/10.54913/hn.2024.5.1.331.
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This thesis aims to establish foundational data for the field of applied musicology, with a focus on research conducted on practical music in Korea. To accomplish this, an analysis was conducted on the current status of doctoral dissertations related to practical music, categorizing them into practical and popular music. The Department of Applied Music in Korean universities was established in 1988. Although a doctoral program was introduced in 2003, research papers on applied music were not prevalent. There are over 1,500 theses and dissertations related to applied music stored in the National Assembly Library, and individual papers are published in various academic journals. However, due to the difficulty in synthesizing these sources comprehensively, the significance lies in examining the current state of research on applied music, focusing on doctoral dissertations, to establish foundational data for the field of applied musicology. The concept of applied music encompasses a wide range of musical cultures, including popular music, jazz, Eastern traditional music, Western classical music, and others, as defined by the educational objectives of universities. It aims to create “music of the 21st century” by integrating various musical genres. In terms of categorization, an examination of university curricula in South Korea reveals over 100 courses classified under this category. The current status of doctoral dissertations on applied music and popular music reveals that there have been 94 papers (from 1992 to 2024) on applied music, conducted at 23 different institutions. Notably, Kyung Hee University and Sangmyung University have produced the highest number of dissertations in this field. As for popular music, there have been 65 papers (from 1994 to 2023), researched at 33 institutions. Kyung Hee University leads in the number of dissertations, followed by Sangmyung University and Sejong University. These papers were categorized and analyzed based on their content, with 35 focusing on historical aspects, 64 on typology, 41 on effects, and 19 on applications, totaling 159 papers. The nature of these papers covers various topics such as the overall history of popular music, expected outcomes through program development, emotional and therapeutic uses of popular music, as well as papers exploring humanities-related subjects like philosophy and aesthetics. However, there is a scarcity of papers specifically focused on aesthetics and art studies.
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Lenz, Richard L. "Adjustable acoustics for imperfect rooms." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A21. http://dx.doi.org/10.1121/10.0015407.
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Very often, acousticians are faced with room dimensions that are fixed and cannot be adjusted. This dilemma is exascerbated when the room is to be used for purposes of music performance. It is further complicated when the goal of the room is to present a broad spectrum of music types from classical symphony to modern jazz or rock. An example will be presented of an essentially square room space that was designed and treated to be adaptable to meet the requirements of all types of performances. Tabor College in Hillsboro, KS had space on its campus to build one concert that had to serve all of its performance needs. The physical space available, in order to maximize the size of the hall, also turned out to be a nearly perfect square in the audience area. Tom Ryan of The Hallani Group, working with the author and RealAcoustix, designed an acoustical system that allows the room to perform well for all types of music performances while being easy to change and architecturally beautiful. The design criteria, auralizations, and other information will be presented showing how this was accomplished.
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Han, Alexander T., and Takako Fujioka. "Emergence of metrically structured rhythms and inter-partner coordination in joint drum improvization." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A345. http://dx.doi.org/10.1121/10.0023748.
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Improvization is a common aspect of music across cultures and eras. Due to its spontaneous nature, it often proves difficult to examine empirically how collective improvization evolves, unless genre-specific constraints are available and followed by experts (e.g., jazz). Here, we investigate the rhythmic dimension of free improvization by non-experts. We focus on two widely used approaches in joint musical improvization: call-and-response (trading) and simultaneous playing (tandem). We hypothesized that non-experts could engage in meaningful joint music-making with a model partner, and that they produce rhythmic patterns with different emergent structures depending on the task. The first author served as a confederate playing with each participant for five blocks each of trading and tandem tasks. To preserve the open-ended nature of improvization, neither metronome nor background music were provided. Preliminary analysis of the rhythmic content indicates that within-player inter-onset-intervals (IOI) reflected a clear hierarchical metrical structure. Additional analysis suggests bi-directional influence between partners in terms of IOI distribution, note density, and timbre choice. During tandem improvization, each partner favored timbres the other did not, showing a complementary pattern. During trading, timbre choice appears more imitative. Subjects also reported an increase in their self-assessed competence and enjoyment of the task over successive blocks.
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Edwards, Brent Hayes. "The Literary Ellington." Representations 77, no. 1 (2002): 1–29. http://dx.doi.org/10.1525/rep.2002.77.1.1.
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The literary plays an indispensable role in the creative process and compositional technique of the great jazz composer and orchestra leader Duke Ellington. It is well known that he based a number of his pieces on literary sources and that many of his larger works in particular rely on narrative written by Ellington and/or his collaborator Billy Strayhorn, whether it was programmatic, recitative, or lyric. In all his music, Ellington was concerned with ''telling tales'' in language, not only in sounds - or more precisely, in both: composing in ways that combined words and music. This imperative is evidenced in the pieces Ellington called ''parallels,'' a word he chose in particular to highlight the formal relationship between music and literature. In some, such as the ''Shakespearean Suite'' known as ''Such Sweet Thunder,'' he used various structural approaches and instrumental techniques to achieve portraiture through the interrelationship between the musical and the literary. In other pieces, such as ''My People'' and especially ''Black, Brown and Beige,'' Ellington attempted to integrate literary texts into his music in a manner that is not programmatic. The longer pieces demonstrate that for Ellington's aesthetic, the representation of African American history necessitated a mixed, multimedia form.
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Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (April 2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.
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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (2014).
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Monson, Ingrid. "Yusef Lateef's Autophysiopsychic Quest." Daedalus 148, no. 2 (April 2019): 104–14. http://dx.doi.org/10.1162/daed_a_01746.
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Yusef Lateef's neologism for jazz was autophysiopsychic, meaning “music from one's physical, mental and spiritual self.” Lateef condensed in this term a very considered conception linking the intellectual and the spiritual based in his faith as an Ahmadiyya Muslim and his lifelong commitment to both Western and non-Western intellectual explorations. Lateef's distinctive voice as an improviser is traced with respect to his autophysiopsychic exploration of world instruments including flutes, double reeds, and chordophones, and his friendship with John Coltrane. The two shared a love of spiritual exploration as well as the study of science, physics, symmetry, and mathematics. Lateef's ethnomusicological research on Hausa music in Nigeria, as well as his other writings and visual art, deepen our understanding of him as an artist-scholar who cleared the way for the presence of autophysiopsychic musicians in the academy.
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Braasch, Jonas. "Acoustical affordances and challenges with indigenous and orchestral wind instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A185. http://dx.doi.org/10.1121/10.0023209.
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All our orchestral wind instruments evolved over many centuries from indigenous prototypes. The latter were developed using found hollow objects like animal horns for early brass instruments, vulture bones for flutes, and termite-infested eucalyptus branches for the Australian didjeridu. Already over 40,000 years ago, the concept of finger holes was conceived that allowed musicians to play various scales on instruments. During the Rennaissance and early Baroque, wind instrument ranges were extended to 1 1/2 octaves and beyond on a diatonic scale and extended cross-fingering capabilities, but it was during the romantic period that our orchestral instruments reached their final form, with chromatic extended tonal ranges and known well balanced timbral qualities. Built on an industrial scale, these instruments became a commodity without real alternatives for subsequent music styles, including jazz, rock, and classical avant-garde. These styles often sought a new timbral expressiveness that can go beyond the intended design of orchestral instruments. In this paper, it will be discussed how different wind instrument designs offer(ed) unique opportunities for music genres over time and how the original design of indigenous instruments better meets some of the more recent requirements than our commonly used orchestral instruments.
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Wilf, Eitan. "Modernity, Cultural Anesthesia, and Sensory Agency: Technologies of the Listening Self in a US Collegiate Jazz Music Program." Ethnos 80, no. 1 (March 7, 2013): 1–22. http://dx.doi.org/10.1080/00141844.2012.751930.
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Maiorino, Alexandre. "Evaluation of a rehearsal/recording room project for symphonic orchestra based on ISO23591." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A103. http://dx.doi.org/10.1121/10.0015686.
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The School of Music of the Federal University of Rio Grande do Norte is one of the fewer Federal Institutions in Brazil that is equipped with a recording studio attending a technical course in recording production. In 2021, the School of Music started a plan for its expansion with the project of a 7-storey building that will house a recording studio connected with several rehearsal rooms. One of the rooms was specifically planned to hold rehearsals and recordings of the UFRN Philharmonic Orchestra and the Big Band Jerimum Jazz. The objective of this research is to show the procedures used to evaluate, during the planning processes, the acoustics of the Philharmonic’s rehearsal room using as reference the new standard ISO 23591. Results showed that it was possible to identify initial acoustical problems and indicate solutions for the best modification of the space, even in the initial stages of the project. The room, with approximately 235 m2 and 6 m in height, was readjusted to a height of 9 m so that the space could comply with the recommendations of the standard. Next challenge will be to properly plan its isolation, since the new school library is above this room.
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Hunt, Kaitlyn, and Anthony Shou. "Two case studies in approach to the renovation of volumetrically challenged music rehearsal spaces." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A22. http://dx.doi.org/10.1121/10.0015410.
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A music rehearsal room renovation can be acoustically challenging in that there is often limited room volume, lack of loudness control, and budget constraints. Two case studies detail these challenges. (1) The University of North Texas’ choral rehearsal room was due for renovation and with a volume of only 44,000 cubic feet, the room had to accommodate choral ensembles varying from 20–85 people for daily use, over 100 voices for an annual festival, and an added recital use. At an appropriate budget, the renovation used room shaping to simultaneously break up parallel surfaces and support voices while also adding adjustable acoustics to allow for tuning of the room for each rehearsal or performance. (2) The University of Texas at San Antonio’s large band, orchestra, and jazz rehearsal room lacked loudness control even with an approximate volume of 73,500 cubic feet to serve 30 – 70 + musicians. At a much more limited budget, the solution was to flip the orientation of the musician layout in the room to take advantage of the existing room geometry and to introduce variable absorption stored exposed to the room which increased the overall absorption while also giving the ensembles an opportunity to tune the room.
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Zhang, Shicheng, and Takako Fujioka. "Does harmony function emerge from sequential notes in a diatonic mode? An event-related potential study." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A241—A242. http://dx.doi.org/10.1121/10.0023417.
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Harmony can be implied by scales in Western tonal music. This phenomenon has been named chord-scale theory in modern jazz practice. However, neurological evidence of such interaction remains unclear. Previous research utilized Event-Related Potentials (ERP), such as Early Right Anterior Negativity (ERAN) and N5, to study sound expectancy violations and the harmony integration process. The current study investigates whether sequential musical notes arranged in an ascending diatonic mode (1) violate the sound expectancy and (2) alter the harmonic function of the target chord. We designed a musical sequence, namely Prime A (chords) + Prime B (ascending scale notes) + Target (a chord). Prime A and B set up global and local tonality accordingly. We hypothesized that the processing of the target chord would be influenced by Prime B in the harmonic dimension. For instance, a Neapolitan sixth target chord (F, Ab, and Db) is incongruent under C Ionian but could be congruent with C Locrian or C Phrygian. We found ERAN and N5 amplitudes at the target chord are altered by (1) the implied harmonic degree of the local tonality and (2) the relative distance between the local and global tonality in the circle of the fifth space. Our results suggest that Western listeners' brains can interpret musical notes from diatonic mode as part of harmony processing and integrate them into complex tonal music contexts.
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Févotte, Cédric, Nancy Bertin, and Jean-Louis Durrieu. "Nonnegative Matrix Factorization with the Itakura-Saito Divergence: With Application to Music Analysis." Neural Computation 21, no. 3 (March 2009): 793–830. http://dx.doi.org/10.1162/neco.2008.04-08-771.
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This letter presents theoretical, algorithmic, and experimental results about nonnegative matrix factorization (NMF) with the Itakura-Saito (IS) divergence. We describe how IS-NMF is underlaid by a well-defined statistical model of superimposed gaussian components and is equivalent to maximum likelihood estimation of variance parameters. This setting can accommodate regularization constraints on the factors through Bayesian priors. In particular, inverse-gamma and gamma Markov chain priors are considered in this work. Estimation can be carried out using a space-alternating generalized expectation-maximization (SAGE) algorithm; this leads to a novel type of NMF algorithm, whose convergence to a stationary point of the IS cost function is guaranteed. We also discuss the links between the IS divergence and other cost functions used in NMF, in particular, the Euclidean distance and the generalized Kullback-Leibler (KL) divergence. As such, we describe how IS-NMF can also be performed using a gradient multiplicative algorithm (a standard algorithm structure in NMF) whose convergence is observed in practice, though not proven. Finally, we report a furnished experimental comparative study of Euclidean-NMF, KL-NMF, and IS-NMF algorithms applied to the power spectrogram of a short piano sequence recorded in real conditions, with various initializations and model orders. Then we show how IS-NMF can successfully be employed for denoising and upmix (mono to stereo conversion) of an original piece of early jazz music. These experiments indicate that IS-NMF correctly captures the semantics of audio and is better suited to the representation of music signals than NMF with the usual Euclidean and KL costs.
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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011034.
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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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Sampsell, Kate. "Improvising the Score: Rethinking Modern Film Music Through Jazz. Gretchen L.Carlson. UP of Mississippi, 2022. 224 pp. $30.00 paper." Journal of Popular Culture 56, no. 1 (February 2023): 208–11. http://dx.doi.org/10.1111/jpcu.13243.
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Tick, Judith. "Ella Fitzgerald & “I Can't Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music." Daedalus 148, no. 2 (April 2019): 83–91. http://dx.doi.org/10.1162/daed_a_01744.
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“If you don't learn new songs, you're lost,” Ella Fitzgerald told The New York Times in 1967. This essay is a close reading of one performance of “I Can't Stop Loving You” she gave at a concert in Berlin on February 11, 1968. The song, which had already become a global hit through a version by Ray Charles in 1962, turned into a vehicle through which Fitzgerald signified on “Soulsville,” or soul, a black popular style then sweeping the American music scene. References to Aretha Franklin's “Respect” and Vernon Duke's “I Can't Get Started With You” are examples of the interpolations included here. The essay challenges the idea that the late 1960s were a fallow period in Fitzgerald's career by highlighting the jazz techniques she used to transform one song into a self-revelatory theatrical tour de force.
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Ramsey, Guthrie P. "A New Kind of Blue: The Power of Suggestion & the Pleasure of Groove in Robert Glasper's Black Radio." Daedalus 142, no. 4 (October 2013): 120–25. http://dx.doi.org/10.1162/daed_a_00240.
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This essay places the important Robert Glasper Experiment recording “Black Radio” (2012) within its artistic, commercial, and critical contexts. As a project that combines genres, “Black Radio” did more than challenge different communities of listeners; it invited them to see how Glasper's sonic juxtapositions could be logically aligned. Jazz, hip-hop, R&B, and gospel merge in “Black Radio” to form a stylish, forward-looking contribution that won popular and critical successes. Glasper and his ensemble toy with the social contracts that have established boundaries around sonic language; indeed, he makes their territories feel seamless and natural. Because of the success of the project, we may be witnessing a post-genre moment that disrupts traditional ideas about music that have been preciously held in the industry since it emerged in the late-nineteenth century.
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McWhorter, John H. "Long Time, No Song: Revisiting Fats Waller's Lost Broadway Musical." Daedalus 142, no. 4 (October 2013): 109–19. http://dx.doi.org/10.1162/daed_a_00238.
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Just before he died in 1943, Fats Waller wrote the music for a Broadway book musical with a mostly white cast, the first black composer to do so–and the only one ever to do it with commercial success. Yet “Early to Bed” is largely ignored by historians of musical theater, while jazz scholars describe the circumstances surrounding its composition rather than the work itself. Encouraging this neglect is the fact that no actual score survives. This essay, based on research that assembled all surviving evidence of the score and the show, gives a summary account of “Early to Bed” and what survives from it. The aim is to fill a gap in Waller scholarship, calling attention to some of his highest quality work, and possibly stimulating further reconstruction work that might result in a recording of the score.
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Ballantine, Christopher. "Music and emancipation: the social role of black jazz and vaudeville in South Africa between the 1920s and the early 1940s." Journal of Southern African Studies 17, no. 1 (March 1991): 129–52. http://dx.doi.org/10.1080/03057079108708269.
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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (January 2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.
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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock and roll are musical genres that Southern writers love – although jazz, blues, and ballads might have the most influence on their work. Southern poets and scholars have produced anthologies, textbooks, and literary journals that focus on the region's narrative voice and its black and white literary traditions. Southern writers have created stories that touch the heart and populate American literature with voices of the American South. Future Southern writers will continue to embrace the region as a place where oral, visual, and musical traditions are interwoven with literature.
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Cornish, Gabrielle, and Matthew Kendall. "Introduction to Critical Discussion Forum: Socialist Sound Worlds." Slavic Review 82, no. 4 (2023): 859–64. http://dx.doi.org/10.1017/slr.2024.9.
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A lot happens when we press play. To prepare, we select a particular format of sound storage—maybe vinyl, magnetic tape, polyethylene, or an mp3—for the parsing, processing, and amplification of that format's content. Once things start moving, we inaugurate a listening experience that may seem effortless, but which has undergone meticulous social conditioning, and which is informed by our own deep histories of listening, aurality, and attention. In the long term, this process is not as rigid as it sounds: listening has always been flexible, and historians of the concert hall have told us a twisting and turning story about audiences who did not always think it was proper to stay silent, and who did not always feel the need to pay much attention to what took place in front of them. But today, anyone who chooses to play a spoken word compilation instead of a jazz LP (long-playing record) at a cocktail party might not find such a receptive crowd. Facilitated by internet streaming and downloading, this relatively new ability to amass intensely personal sonic archives often clashes with the contextual demands of where, when, and how certain forms of listening are meant to be enacted: the cocktail party often dictates a particular aural accompaniment, one more amenable to music than an audiobook. For such a widely practiced activity, why do the modern activities of storing, distributing, and amplifying sound, which have grown kaleidoscopically complex in the twentieth and twenty-first centuries, remain undertheorized in Slavic studies? What would it mean to think about these questions and their repercussions in east European modernity? And what might listening to east European history and culture tell us that our other senses cannot?
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Klotz, Kelsey A. K. "Dave Brubeck's Southern Strategy." Daedalus 148, no. 2 (April 2019): 52–66. http://dx.doi.org/10.1162/daed_a_01742.
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In January 1960, white jazz pianist Dave Brubeck made headlines for cancelling a twenty-five-date tour of colleges and universities across the American South after twenty-two schools had refused to allow his black bassist, Eugene Wright, to perform. This cancellation became a defining moment in Brubeck's career, forever marking him as an advocate for racial justice. This essay follows Brubeck's engagement with early civil rights–era protests, examining the moments leading up to Brubeck's cancellation of his 1960 tour of the South. In doing so, I uncover new details in Brubeck's steps toward race activism that highlight the ways in which Brubeck leveraged his whiteness to support integration efforts, even as he simultaneously benefited from a system that privileged his voice over the voices of people of color. While Brubeck has been hailed as a civil rights advocate simply for cancelling his 1960 tour, I argue that Brubeck's activism worked on a deeper level, one that inspired him to adopt a new musical and promotional strategy that married commercial interests with political ideology. Brubeck's advocacy relied on his power and privilege within the mainstream music industry to craft albums and marketing approaches that promoted integration in the segregationist South. Ultimately, this period in Brubeck's career is significant because it allows deep consideration of who Brubeck spoke for and above, who listened, and for whom his actions as a civil rights advocate were meaningful.
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Clark, Andrew. "Berry Jason, Foose Jonathan, Jones Tad, Up From the Cradle of Jazz: New Orleans Music Since World War II (Athens, Georgia: University of Georgia Press, 1986, $15.95). Pp. 285, large format. ISBN 0 8203 0854 4." Journal of American Studies 22, no. 1 (April 1988): 115–16. http://dx.doi.org/10.1017/s0021875800033132.
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Editorial Collective, UnderCurrents. "Contributors." UnderCurrents: Journal of Critical Environmental Studies 18 (April 27, 2014): 60. http://dx.doi.org/10.25071/2292-4736/38554.
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Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focusing on forging links between visual art, elegy, ecology, ethics, and sustainability. "In October 2013, Jessica curated and exhibited work in Indicator, an independent project for Toronto's Nuit Blanche.Gary Barwin is a poet, fiction writer, composer, visual artist, and performer. His music and writing have been published, performed, and broadcast in Canada, the US, and elsewhere. He received a PhD in Music Composition from SUNY at Buffalo and holds three degrees from York University: a B.F.A. in music, a B.A. in English, and a B.Ed.O.J. Cade is a PhD candidate in science communication at the University of Otago, New Zealand. In her spare time she writes speculative fiction, and her short stories and poems can be found in places like Strange Horizons, Cosmos Magazine, and Abyss and Apex. Her first book, Trading Rosemary, was published in January of 2014 by Masque Books.Kayla Flinn is a recent graduate from the Masters in Environmental Studies program, with a Diploma in Environmental and Sustainable Education from York University. Originally from Nova Scotia, Kayla is both an artist and athlete, spending majority of her time either surfing or trying to reconnect people to nature/animals through art she produces.Frank Frances is a playwright, poet, music programmer, artistic director, community arts and social justice activist, former jazz club owner, and believer of dreams of a greater humanity. Frank majored in English, creative writing, post colonial literature and theory, drama and theatre, and is a graduate of York University.Sarah Nolan is a PhD candidate at the University of Nevada, Reno, where she studies twentieth and twenty-first century American poetry. Her dissertation considers developing conceptions of ecopoetics and how those ideas contribute to poetry that is not often recognized as environmental.Darren Patrick is an ecologically minded queer who lives in a city. He is also a PhD candidate in the Faculty of Environmental Studies at York University in Toronto, Ontario.Portia Priegert is a writer and visual artist based in Kelowna, B.C. She completed her MFA in Creative Writing at UBC Okanagan in 2012, with funding from the Social Sciences and Humanities Research Council of Canada.Elana Santana is a recent graduate of the Masters in Environment Studies program at York University. Her research focuses on the intersections of feminist, queer, posthumanist studies and the environment. Her academic work informs her creative pursuits a great deal, particularly in her attempts to photograph the non-human world in all its agential glory. Conrad Scott is a PhD candidate in the University of Alberta’s Department of English and Film Studies. His project examines the interconnection between place, culture, and literature in a study of dystopia in contemporary North American eco-apocalyptic fiction.Joel Weishaus has published books, book reviews, essays, poems, art and literary critiques. He is presently Artist-in-Residence at Pacifica Graduate Institute, Carpinteria, CA. Much of his work is archived on the Internet: http://www.cddc.vt.edu/host/weishaus/index.htmMichael Young is presently the University and Schools advisor for Operation Wallacea Canada, a branch of a UK based biodiversity research organization. He is a recent graduate of the Masters in Environmental Studies program at York University (MES), where his culminating portfolio examined apocalyptic narratives and popular environmental discourse. He is presently in the process of developing an original television pilot, which he began writing as a part of his master’s portfolio.