Academic literature on the topic 'Jazz Australia History and criticism'
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Journal articles on the topic "Jazz Australia History and criticism"
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Rastrick, Ólafur. "‘Not Music but Sonic Porn’: Identity Politics, Social Reform, and the Negative Reception of Jazz." Cultural History 10, no. 1 (April 2021): 91–110. http://dx.doi.org/10.3366/cult.2021.0232.
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The 1920s fascination with jazz music and dance provoked deep concern and anxiety about the future direction of society in different corners of the world. Jazz was readily associated with various social evils that were considered a threat to the cultural and moral wellbeing of nations as well as the mental and physical health of both individuals and society in general. Negative reception of jazz was not limited to the United States but seems to have expanded around the globe just as rapidly as the appeal of the music and movements loosely identified at the time as jazz. The article identifies defining elements of this negative discourse to explore their mechanism and bearings in particular localized settings, namely, in Australia and Iceland. The focus is on how the perceptions of jazz as a social evil contributed to conceptualizing ideas of social reform and how the demonization of jazz played a role in defining national character and culture. Australia and Iceland serve as examples for understanding the way in which the negative discourse gained a foothold in society by relating to pre-existing social anxieties, political objectives and historical context.
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Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.
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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer
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Natambu, Kofi. "Whose Music is it, Anyway?: The Oxford University Press Jazz History/Criticism Series, 1980-Present." Black Scholar 29, no. 4 (December 1999): 48–51. http://dx.doi.org/10.1080/00064246.1999.11430983.
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Kluth, Andrew J. "Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”." Journal of Jazz Studies 12, no. 1 (December 9, 2019): 51–71. http://dx.doi.org/10.14713/jjs.v12i1.117.
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(Opening paragraph): In this article, I invoke the concept of intermusicality as defined by Ingrid Monson and develop its role in meaning-making in musical worlds. Her groundbreaking book, Saying Something: Jazz Improvisation and Interaction (1996) offers a sophisticated criticism of jazz improvisation and the construction of meaning therein. In doing so, it explores methods by which to nuance and/or rupture traditional historiographies that construct the jazz canon. More than intermusicality, though, I look to a more general intertextuality as a hermeneutic window disruptive to the “great man” histories that have so often heretofore constructed the jazz tradition. I argue that the notion of intertextuality is particularly useful in mediating questions of essentialism in jazz (racial or otherwise) with considerations of practical competency and an artist’s particular situatedness in that body of texts. Working against positivist taxonomies resultant in definitions of what is/is not jazz, this perspective leaves space for the refiguring work of novelty and experimentation requisite therein. This resonates with Steven B. Elworth’s (1995) claim: “Far from being an unchanging and an easily understood historical field, the jazz tradition is a constantly transforming construction” (58). In my suspicion of linear ideas of history and “progress” (and therefore, telos), I prefer to interrogate and ratify instead the complicated relationship of novelty to tradition. The negotiation of these meta-categories is at the heart of the work improvising musicians do; combining disparate ways of being in the world with musical ideas and practices to create new musico-sociocultural wholes.
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Perchard, Tom. "Mid-century Modern Jazz: Music and Design in the Postwar Home." Popular Music 36, no. 1 (December 13, 2016): 55–74. http://dx.doi.org/10.1017/s0261143016000672.
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AbstractThis article takes an imagined, transnational living room as its setting, examining jazz's place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In magazines as apparently diverse asIdeal Homein the UK andPlayboyin the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locating the style in a historical sociology of taste, this piece attempts to describe jazz's role in what was an emergent middle-class sensorium. The music's sonic characteristics were frequently called upon to complement the newly sleek visual and tactile experiences – of furniture, fabrics, plastics, the light and space of modern domestic architecture – then coming to define the aspirational bourgeois home; an international modern visual aesthetic was reflected back in jazz album cover art. But to describe experience or ambience represents a challenge to historical method. As much as history proper, then, it's through a kind of experimental criticism of both music and visual culture that this piece attempts to capture the textures and moods that jazz brought to the postwar home.
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Milner, Andrew. "The 'English ' Ideology: Literary Criticism in England and Australia." Thesis Eleven 12, no. 1 (May 1985): 110–29. http://dx.doi.org/10.1177/072551368501200108.
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Tatsumi, Takayuki. "Literary History on the Road: Transatlantic Crossings and Transpacific Crossovers." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 92–102. http://dx.doi.org/10.1632/003081204x23557.
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Literary history has always mirrored discursive revolutions in world history. In the United States, the Jazz Age would not have seen the Herman Melville revival and the completion of Carl Van Doren's The Cambridge History of American Literature (1917–21) without the rise of post–World War I nativism. If it had not been for Pearl Harbor, F. O. Matthiessen's American Renaissance (1941) could not have fully aroused the democratic spirit embedded in the heritage of New Criticism. Likewise, the postcolonial and New Americanist climate around 1990, that critical transition at the end of the cold war, brought about the publication of Emory Elliott's The Columbia Literary History of the United States (1988) and Sacvan Bercovitch's The Cambridge History of American Literature (1994–). I would like to question, however, the discourse that narrates American literary history in the globalist age of the twenty-first century.
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Wood, Graham C. "Prevalence, Risk Factors, and Effects of Performance-Related Medical Disorders (PRMD) among Tertiary-trained Jazz Pianists in Australia and the United States." Medical Problems of Performing Artists 29, no. 1 (March 1, 2014): 37–45. http://dx.doi.org/10.21091/mppa.2014.1009.
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This study explores performance-related medical disorders (PRMD) among a sample of tertiary-trained jazz pianists. Participants included both Australian and US pianists (n=214), including current and former tertiary students, professional pianists, and teachers. This mixed methods (quantitative and qualitative) exploratory and descriptive study used survey and case studies to provide baseline data for further research. Students reported a past and present period prevalence of 63% for pain and 41% for PRMD (injury attributed to practice or performance) with the forearm being the body part most affected, usually by fatigue. Diagnosis and treatment were reported as often unsatisfactory mainly due to lack of knowledge of PRMD by teachers and by professional health providers, and also to limited access to specialist PRMD services where these exist. Although teacher knowledge of PRMD is quite low, students still seek advice primarily from their teachers. The current study highlights a need to address the issue of PRMD among jazz pianists and their teachers more strategically, both in its prevention and in diagnosis and treatment.
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Frumkin, R. A. "Hearing Is Believing." Resonance 2, no. 1 (2021): 19–26. http://dx.doi.org/10.1525/res.2021.2.1.19.
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This essay explores music’s power to explicate, exaggerate, and even undermine moving images, examining first the marriage of sound and film through the invention of the Vitaphone and later illustrating the maturation of this marriage through an exegesis of Nicholas Britell’s score for the popular television show Succession. The Vitaphone debuted with Al Jolson’s The Jazz Singer, a film that made Jolson a household name and further popularized the vaudeville tradition of blackface. It is no coincidence that the synchronization of sound and film—a major innovation that would change the way we think of both for decades to come—had such racist origins, as the history of American innovation is also the history of capitalist white supremacy. Succession concerns the Roys, a legacy media family whose scion, Kendall, considers himself an innovator. Through Britell’s instrumentals, which are written to reflect Kendall’s ups and downs, we come to understand the score not as a simple, uncritical accompaniment of Succession’s images (as the Vitaphone was for The Jazz Singer) but as an anticapitalist voice of its own, delivering criticisms of Kendall’s avarice and cultural appropriation while still evincing compassion for him as he plunges deeper into addiction. This essay maintains that sound in film, a technology with troubling origins, is now capable of asserting itself apart from that film and thus delivering a dialectical criticism of those very origins.
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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.
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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.
Dissertations / Theses on the topic "Jazz Australia History and criticism"
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory.
Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.
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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.
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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.
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The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music?
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.
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She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.
Full textBooks on the topic "Jazz Australia History and criticism"
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Black roots, white flowers: A history of jazz in Australia. Sydney: ABC Enterprises, 1987.
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Jazz: The Australian accent. Sydney: University of New South Wales Press, 2008.
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Verdeaux, Laurent. Jazz-jazz. Paris: M. Milo, 2003.
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Tanner, Paul. Jazz. 9th ed. Boston: McGraw Hill, 2001.
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W, Megill David, and Gerow Maurice, eds. Jazz. 7th ed. Dubuque, IA: Wm. C. Brown Publishers, 1992.
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Maurice, Gerow, Megill David W, and Tanner Paul 1917-, eds. Jazz. 6th ed. Dubuque, Iowa: W.C. Brown, 1988.
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Tanner, Paul. Jazz. New York: McGraw-Hill, 2012.
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W, Megill David, and Gerow Maurice, eds. Jazz. Boston, Mass: McGraw-Hill, 2005.
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Tanner, Paul. Jazz. 8th ed. Madison, WI: Brown & Benchmark, 1997.
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W, Megill David, and Gerow Maurice, eds. Jazz. New York: McGraw-Hill, 2008.
Find full textBook chapters on the topic "Jazz Australia History and criticism"
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Racz, Mark. "Jazz Criticism in America." In The Cambridge History of Music Criticism, 459–83. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.025.
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Matheson, Peter. "The Scottish Theological Diaspora." In The History of Scottish Theology, Volume III, 203–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198759355.003.0015.
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The Scottish diaspora in Australasia exhibits many of the characteristics of colonialism and post-colonialism. Initially the Presbyterian churches reflected their largely Free Church origins, with its Calvinism, memories of the Disruption, and evangelical churchmanship. In the Victorian period it again mirrored the Scottish Church’s opening up to mission, biblical criticism, and evolution. Two World Wars both strengthened the links to Scottish theology and encouraged a transition to ecumenism, especially in the Uniting Church of Australia, and to indigenization, with growing attention to Asian and to aboriginal and Maori theology. American influences became increasingly evident in pastoral theology. However, the personal and institutional links to all four Scottish theological faculties, Aberdeen, St Andrews, Edinburgh, and Glasgow remained and remain creative and strong.
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Bolden, Tony. "Blue Funk." In Groove Theory, 37–84. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0003.
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This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.
Conference papers on the topic "Jazz Australia History and criticism"
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Xinting, Liang. "The Trajectory of Collective Life: The Ideal and Practice of New Village in Tianjin, 1920s-1950s." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4026pt85d.
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Originated from New Village Ideal in Japan, New Village was introduced to China in the early 1920s and became a byword for social reform program. Many residential designs or projects whose name includes the term “Village” or “New Village” had been completed in China since that time. This paper uses the Textual Criticism method to sort out the introduction and translation of New Village Ideal theory in China, and to compare the physical space, life organization and concepts of the New Village practices in ROC with in early PRC of Tianjin. It is found that the term “New Village” continued to be used across several historical periods, showing very similar spatial images. But the construction and usage of New Village and the meaning of collective life changed somewhat under different political positions and social circumstances: New Village gradually became an urban collective residential area which only bore the living function since it was introduced into modern China. The goal of its practice changed from building an equal autonomy to building a new field of power operation, a new discourse of social improvement and a new way for profit-seeking capital. With the change of state regime, the construction had entered a climax stage. New Village then became the symbol of the rising political and social status of the working class, and the link between the change of urban nature and spatial development. Socialism collective life and the temporal and spatial separation or combination between production and live constructed the collective conscience and identity of residents. The above findings highlight the independence of architecture history from general history, help to examine the complexity of China’s localization New Village practice and the uniqueness of Tianjin’s urban history, and provide new ideas for the study of China’s modern urban housing development from the perspective of changes in daily life organization.