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Journal articles on the topic 'Jazz Studies'

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Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Pond, Steven F., Ken Burns, Lynn Novick, Geoffrey C. Ward, Wynton Marsalis, Dan Morgenstern, Michael Chertok, et al. "Jazz." Ethnomusicology 46, no. 3 (2002): 552. http://dx.doi.org/10.2307/852724.

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2

Cox, Harvey. "Jazz and Pentecostalism / Jazz et pentecôtisme." Archives de sciences sociales des religions 84, no. 1 (1993): 181–88. http://dx.doi.org/10.3406/assr.1993.1497.

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3

Porter, Lewis, Dan Morgenstern, Charles Nanry, David A. Cayer, and Edward Berger. "Annual Review of Jazz Studies." Black Perspective in Music 14, no. 2 (1986): 195. http://dx.doi.org/10.2307/1214991.

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4

Washburne, Christopher. "Jazz Re‐Bordered: Cultural Policy in Danish Jazz." Jazz Perspectives 4, no. 2 (August 2010): 121–55. http://dx.doi.org/10.1080/17494060.2010.506042.

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5

Prouty, Ken. "Finding Jazz in the Jazz-As-Business Metaphor." Jazz Perspectives 7, no. 1 (April 2013): 31–55. http://dx.doi.org/10.1080/17494060.2013.825986.

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6

Solis, Gabriel, and David Ake. "Jazz Cultures." Ethnomusicology 47, no. 3 (2003): 392. http://dx.doi.org/10.2307/3113946.

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7

Farrington, Holly E. "Narrating the Jazz Life: Three Approaches to Jazz Autobiography." Popular Music and Society 29, no. 3 (July 2006): 375–86. http://dx.doi.org/10.1080/03007760600670505.

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8

Tucker, Mark. "Musicology and the New Jazz Studies Representing Jazz . Krin Gabbard . Jazz among the Discourses . Krin Gabbard ." Journal of the American Musicological Society 51, no. 1 (April 1998): 131–48. http://dx.doi.org/10.1525/jams.1998.51.1.03a00040.

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9

Moten, Fred. "Jazz." Callaloo 25, no. 1 (2002): 94. http://dx.doi.org/10.1353/cal.2002.0034.

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10

Menanteau Aravena, Álvaro. "¿Influencia del jazz?" Revista musical chilena 74, no. 233 (June 2020): 69–87. http://dx.doi.org/10.4067/s0716-27902020000100069.

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11

Stevens, Peter. "Jazz Canada 1986." Journal of Canadian Studies 22, no. 1 (February 1987): 129–35. http://dx.doi.org/10.3138/jcs.22.1.129.

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12

Martin, Pete. "Jazz for Beginners." Popular Music 15, no. 2 (May 1996): 227–32. http://dx.doi.org/10.1017/s026114300000814x.

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13

Ward, Aleisha. "RIPM Jazz Periodicals." Jazz Perspectives 13, no. 1 (January 2, 2021): 93–96. http://dx.doi.org/10.1080/17494060.2021.1897263.

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14

Chaturvedi, Salil. "Balcao Jazz." Wasafiri 32, no. 4 (October 2, 2017): 79–80. http://dx.doi.org/10.1080/02690055.2017.1350388.

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15

Strassburger, Haley. "The Routledge Companion to Jazz Studies." Music Reference Services Quarterly 23, no. 1 (December 12, 2019): 45–46. http://dx.doi.org/10.1080/10588167.2019.1702862.

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16

Tucker, Mark. "Musicology and the New Jazz Studies." Journal of the American Musicological Society 51, no. 1 (1998): 131–48. http://dx.doi.org/10.2307/831899.

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17

Most, Andrea. "Jazz Age Jews (review)." American Jewish History 89, no. 3 (2001): 299–302. http://dx.doi.org/10.1353/ajh.2001.0051.

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18

Melnick, Jeffrey Paul. "Jazz Age Jews (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 21, no. 3 (2003): 203–5. http://dx.doi.org/10.1353/sho.2003.0024.

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19

Baskerville, John D. "Free Jazz." Journal of Black Studies 24, no. 4 (June 1994): 484–97. http://dx.doi.org/10.1177/002193479402400408.

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20

Sandke, Randall. "Jazz Studies: Mainstream or Listing in a Sea of Ideology?" Journal of Jazz Studies 8, no. 2 (March 17, 2013): 163. http://dx.doi.org/10.14713/jjs.v8i2.44.

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21

Dailey, Raleigh. "Jazz Fiction: A History and Comprehensive Reader's Guide. (Studies in Jazz, no. 55)." Music Reference Services Quarterly 12, no. 1-2 (June 2009): 53–55. http://dx.doi.org/10.1080/10588160902963538.

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22

Menanteau Aravena, Álvaro. "Jazz en América Latina." Revista musical chilena 72, no. 229 (June 2018): 9–11. http://dx.doi.org/10.4067/s0716-27902018000100009.

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23

Johnson, Bruce, and Adam Havas. "Special Issue: Jazz Diasporas." Popular Music and Society 43, no. 3 (May 26, 2020): 363–64. http://dx.doi.org/10.1080/03007766.2020.1762344.

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24

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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25

Pond, Steven F. "Old Wine, New Bottles: Record Collecting, Jazz Reissues, and the Jazz Tradition." Jazz Perspectives 13, no. 1 (January 2, 2021): 3–37. http://dx.doi.org/10.1080/17494060.2021.1883709.

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26

Guedj, Pauline. "Jazz et tourisme." Géographie et cultures, no. 76 (November 1, 2010): 31–46. http://dx.doi.org/10.4000/gc.1096.

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27

Baker, Malcom Lynn. "Jazz education in Italy: Two case studies." Journal of European Popular Culture 10, no. 1 (April 1, 2019): 41–52. http://dx.doi.org/10.1386/jepc.10.1.41_1.

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28

Reimann, Heli. "Late-Stalinist ideological campaigns and the rupture of jazz: ‘jazz-talk’ in the Soviet Estonian cultural newspaperSirp ja Vasar." Popular Music 33, no. 3 (August 28, 2014): 509–29. http://dx.doi.org/10.1017/s0261143014000373.

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AbstractThis paper on Soviet Estonian jazz explores the dynamics of the processes which temporarily extinguished jazz from the public arena during late-Stalinism. This microhistory inflected study draws on the conception of ‘rupture’ through a close reading of the way jazz was constructed in the official narratives of the Estonian cultural newspaperSirp ja Vasar.Jazz in Estonia experienced no rupture during the first postwar years, but then the three successive Stalinist campaigns, each with gradually decreasing tolerance towards jazz, led finally to the temporary public disappearance of the music in 1950. The strategies enforced in the late 1940s, such as anti-jazz orchestra reform, dance reforms that banned the foxtrot and the other modern dances, and the eradication of the word jazz from public discourse, all served to silence the ‘formalistic’ musical form by framing it with negative connotations and by shaping the taste of the masses according to Soviet ideological paradigms.

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29

Heyman, Matthias. "The role and function of jazz competitions in Belgium, 1932–1939." Popular Music 39, no. 3-4 (December 2020): 439–58. http://dx.doi.org/10.1017/s0261143020000422.

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AbstractThis article focuses on a series of regional, national and international jazz competitions organised by the Jazz Club de Belgique between 1932 and 1939. In the early 1930s, contests for amateur jazz bands began to emerge in various European countries such as the UK, the Netherlands, and Belgium. Using the Belgian competitions as a case study, this article demonstrates that these were instrumental in the development of certain local jazz scenes, not only by offering budding talents an opportunity to be discovered, but more importantly in establishing a much-needed network of amateur and professional musicians, intermediaries, critics and fans. Furthermore, the argument is made that these events foreshadowed the first European jazz festivals to appear in the 1950s. Overall, it aims to demonstrate that the jazz contest is a valuable yet under-researched site for the promotion, socialisation, mediation, dissemination and popularisation of this music.

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30

Parsonage, Catherine. "A critical reassessment of the reception of early jazz in Britain." Popular Music 22, no. 3 (October 2003): 315–36. http://dx.doi.org/10.1017/s0261143003003210.

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The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music.It is an extremely significant but often neglected fact that another group of American musicians, Will Marion Cook's Southern Syncopated Orchestra, also came to Britain in 1919. Remarkably, extensive comparisons of the respective performances and reception of the ODJB and the SSO have not been made in the available literature on jazz. Examination of the situation of one white and one black group of American musicians performing contemporaneously in London is extremely informative, as it evidences the continuing influence of the antecedents of jazz and the importance of both groups in shaping perceptions of jazz in Britain.

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31

Surles, Elizabeth, and Adriana P. Cuervo. "The Jazz Archives Fellowship: Professional Development and Diversity at the Institute of Jazz Studies." Journal of Archival Organization 12, no. 3-4 (October 2, 2015): 230–41. http://dx.doi.org/10.1080/15332748.2015.1160623.

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32

Witmer, Robert, and Garvin Bushell. "Jazz from the Beginning." Ethnomusicology 34, no. 1 (1990): 154. http://dx.doi.org/10.2307/852366.

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33

Devroop, Karendra. "The Occupational Aspirations and Expectations of College Students Majoring in Jazz Studies." Journal of Research in Music Education 59, no. 4 (November 15, 2011): 393–405. http://dx.doi.org/10.1177/0022429411424464.

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This study was designed to investigate the occupational aspirations and occupational expectations of college students majoring in jazz studies in the United States. Participants included the population of jazz studies majors ( N = 211) at a large mid-southern university known for its prestigious and internationally recognized jazz program. A response rate of 85% was obtained. Occupational aspirations and occupational expectations were measured on the Jazz Occupational Prestige Index. Results indicated that students aspired to more prestigious occupations but expected to be employed in occupations less prestigious when considering the realities of the job market. A small percentage of students (4.7%) aspired to teach while a higher percentage (15.8%) expected to be engaged in teaching as a profession. The analysis of relationships between variables revealed a low positive relationship between occupational aspiration and support from significant others. All other relationships were negligible.

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34

Oliver, Paul. "That certain feeling: blues and jazz … in 1890?" Popular Music 10, no. 1 (January 1991): 11–19. http://dx.doi.org/10.1017/s0261143000004281.

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‘And this, after all, we do know with certainty: that in the 1880s in and around New Orleans and in other parts of the South, they were beginning to play the music we call jazz.’ So wrote Barry Ulanov who was convinced that jazz ‘reached back to the twelve bar form of the folk tune … and evolved that most durable and most thoroughly adaptable of jazz forms, the blues’. Picked out by ‘men and women in the backwoods and the front parlors making the delicate little changes, insisting upon the famous “blue notes”’, it took shape ‘long before the famous early names of jazz – before Buddy Bolden and Freddie Keppard and Papa Laine’ (Ulanov 1958a, p. 17). Ulanov was writing in 1957, more than thirty years closer to the origins of jazz, when a number of the veteran musicians of the first and second generations were still living. His ‘certainty’ implied that the blues was the wellspring of jazz from which it drew its inspiration and its improvisation.

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35

Robinson, J. Bradford. "The jazz essays of Theodor Adorno: some thoughts on jazz reception in Weimar Germany." Popular Music 13, no. 1 (January 1994): 1–25. http://dx.doi.org/10.1017/s0261143000006814.

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Theodor Adorno's writings on jazz remain at best a puzzle, and to many an acute embarrassment. To jazz historians they merely contain ‘some of the stupidest pages ever written about jazz’ (Hobsbawm 1993, p. 300) and are generally dismissed without further comment. Adorno scholars, on the other hand, are unlikely to see in them anything more than preliminary steps to his later and more substantial studies in the sociology of music, or – in the words of Martin Jay (1984, p. 132) – a ‘gloss on The Authoritarian Personality’. Nor are matters helped by Adorno's own attitude. In the preface to volume 17 of his Gesammelte Schriften he clearly distances himself from his early jazz writings, referring to his ignorance of the specifically American features of jazz, his dependence on the German-Hungarian pedagogue Mátyás Seiber in matters of jazz technique, and his willingness to draw hasty psycho-sociological conclusions without clear knowledge of the institutions of the commercial music industry. If these essays are belittled by their own author, why should we bother to study them at all?

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36

Wright, Todd, and John Higby. "Appalachian Jazz: Some Preliminary Notes." Black Music Research Journal 23, no. 1/2 (2003): 53. http://dx.doi.org/10.2307/3593208.

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37

McFarland, Mark. "Dave Brubeck and Polytonal Jazz." Jazz Perspectives 3, no. 2 (August 2009): 153–76. http://dx.doi.org/10.1080/17494060903152396.

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38

Porter, Eric. "Rethinking Jazz Through the 1970s." Jazz Perspectives 4, no. 1 (April 2010): 1–5. http://dx.doi.org/10.1080/17494061003694121.

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39

Weir, Donna. "Salsa Reggae Jazz Blues." Frontiers: A Journal of Women Studies 14, no. 3 (1994): 166. http://dx.doi.org/10.2307/3346689.

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40

Levine, Lawrence W. "Jazz and American Culture." Journal of American Folklore 102, no. 403 (January 1989): 6. http://dx.doi.org/10.2307/540078.

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41

Cohen, Norm. "Jazz Reissues Briefly Noted." Journal of American Folklore 103, no. 407 (January 1990): 103. http://dx.doi.org/10.2307/541117.

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42

Kerlew, Clyde. "The Institute of Jazz Studies and Rutgers University." Public & Access Services Quarterly 1, no. 1 (January 13, 1995): 51–74. http://dx.doi.org/10.1300/j119v01n01_03.

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43

Schoerke, Meg. "Jazz (Five Takes)." Hudson Review 55, no. 2 (2002): 209. http://dx.doi.org/10.2307/3852982.

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44

Pritchard, William H., Gary Giddins, and Richard Sudhalter. "All That Jazz." Hudson Review 52, no. 2 (1999): 332. http://dx.doi.org/10.2307/3853427.

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45

Stepto, G. B. "Portrait after Jazz." Callaloo 21, no. 1 (1998): 221. http://dx.doi.org/10.1353/cal.1998.0051.

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46

Kaufman, Bob. "Bagel Shop Jazz." Callaloo 25, no. 1 (2002): 122–23. http://dx.doi.org/10.1353/cal.2002.0024.

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47

Maxwell, William J. "Jazz Cultures (review)." Callaloo 27, no. 2 (2004): 570–72. http://dx.doi.org/10.1353/cal.2004.0055.

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48

Díaz, Jazz. "Art and Ethnic Studies." Ethnic Studies Review 42, no. 2 (2019): 173–79. http://dx.doi.org/10.1525/esr.2019.42.2.173.

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Jazz Díaz is an activist artist (artivist) who combines Art and Ethnic Studies. She describes her political consciousness and decolonizing process in navigating Western-centric art spaces. She highlights critical themes that her artwork addresses, and the essay includes examples of her work.

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49

Wills, Geoffrey I. "Forty lives in the bebop business: Mental health in a group of eminent jazz musicians." British Journal of Psychiatry 183, no. 3 (September 2003): 255–59. http://dx.doi.org/10.1192/bjp.183.3.255.

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BackgroundAbove-average levels of psychopathology have been demonstrated convincingly in groups of outstanding individuals working in the arts. Currently, jazz musicians have not been studied in this regard.AimsTo investigate any evidence of psychopathology in a group of eminent jazz musicians.MethodBiographical material relating to 40 eminent American modern jazz musicians was reviewed and an attempt was made to formulate diagnoses using DSM–IV.ResultsEvidence was provided of levels of psychopathology in the sample of jazz musicians similar to those found in other previously investigated creative groups, with the exception of substance-related problems. An interesting connection between creativity and sensation-seeking was highlighted.ConclusionsThe link between psychopathology and creativity in the arts was given further weight. Future studies of jazz musicians using larger samples and making comparison with groups from different eras of music would give greater clarification to this area.

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50

Early, Gerald. "The Lives of Jazz." American Literary History 5, no. 1 (1993): 129–46. http://dx.doi.org/10.1093/alh/5.1.129.

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