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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 30 липня 2024

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Статті в журналах з теми "Jazz musicians United States Biography"

Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians." Perceptual and Motor Skills 84, no. 1 (February 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.

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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

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Williams, Sarin. "Teaching Cultural Competency through Early New Orleans Jazz." Jazz Education in Research and Practice 5, no. 1 (January 2024): 128–41. http://dx.doi.org/10.2979/jazzeducrese.5.1.09.

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Abstract: Studying the inception of early jazz in 20th-century New Orleans can provide opportunities to address issues of diversity, equity, and inclusion by increasing cultural competency. Providing students with a historical framework for the creation of jazz may promote empathy with musicians of diverse races, cultures, and musical backgrounds while applying these lessons to students' lives today. Early jazz itself can be examined as a combination of African and European musical ancestry brought together by Black, White, and Creole musicians for the birth of a unique musical idiom to the United States. Along with historical information, this article integrates three suggested lessons connecting cultural competency to the National Association for Music Education's 2014 Music Standards through the creation of jazz for a diverse array of students.

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FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral history evidence indicate that the Michigan jazz band's tour succeeded in building vital imagined connections across international borders. The nature of these connections demonstrates that the cold war practice of pushing culture across borders for political purposes furthered cultural globalization—even though the latter process is often regarded by scholars as a phenomenon that began only after the end of the cold war. The jazz band's tour highlights the essential role of music and musicians in fostering new transnational sensibilities in the politicized context of the cold war.

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Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues." Kwartalnik Młodych Muzykologów UJ, no. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.

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The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.

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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.

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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.

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Ikechi, Emeka, Ayebanoa Timibofa, and Otuare Theophilus Kika. "Aesthetics of Protest in Black American Literature: A Study of June Jordan’s Directed by Desires and Richard Wright's Native Son." Scholars International Journal of Linguistics and Literature 5, no. 2 (February 24, 2022): 51–57. http://dx.doi.org/10.36348/sijll.2022.v05i02.003.

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The introduction of jazz and blues in the United States of America influenced the works of Afro American writers both in content and form. These jazz and blues musical songs were used as mediums to protest against racism, class, gender and other inhuman practices meted on the blacks in the United States. Although these songs were not formally written, they became a source of inspiration for writers afterwards in terms of themes and style. The later writers who changed to formal literature borrowed from the themes and styles of these jazz and blues musicians. This paper is signicant because it has examined the thematic preoccupation of June Jordan’ Directed by Desires and Richard Wright's novel, Native Son. Findings show that both writers were thematically and stylistically influenced by the jazz and blues era of art in Af ro American Literature. Data for this essay was collected via qualitative research methodology, while the postcolonial theory was adopted for analysis. The paper submits that themes of racism, class, gender and protest were features of the jazz and blues era which later writers modelled their works after.

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GUERPIN, MARTIN. "From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’." Journal of the Royal Musical Association 147, no. 2 (November 2022): 582–94. http://dx.doi.org/10.1017/rma.2022.27.

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‘Hot clubs’ proliferated all over Europe and the United States during the 1930s. For a brief period (1935–6), they joined forces in an International Federation of Hot Clubs (IFHC), the main purpose of which was to link together devotees in search of American hot jazz recordings at a time when they were difficult to find and buy in Europe, since that sub-genre was less popular and commercially successful than what was then called ‘straight’ jazz. The expression ‘hot jazz’ was coined by jazz musicians at the end of the 1920s and referred to a style based on performance and improvisation rather than on the composition and performance of written parts. A founder of the Hot Club de France (HCF) in 1932, the French jazz critic Hugues Panassié was the first to establish a hierarchy between these two styles:

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Norgaard, Martin, Matthew G. Dunaway, and Steven P. Black. "Descriptions of Improvisational Thinking by Expert Musicians Trained in Different Cultural Traditions." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 45–66. http://dx.doi.org/10.5406/21627223.237.03.

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Abstract Research about improvisation often focuses on one musical tradition. The current study investigated experts’ descriptions of thinking behind improvisation in different cultural traditions through interviews with advanced improvisers residing in a metropolitan area in the United States. The participants were rigorously trained in their tradition and have performance experience within it. However, as residents of the United States, they are experienced in communicating with Western audiences and conversant in Western ways of thinking about music. Immediately after completing the improvisation, each participant listened to a recording and looked at its visual representation while describing the underlying thinking. The visual representation showed pitch contour and note length without reference to any notational system. A thematic analysis by researchers trained in Western classical music and jazz revealed eight main themes: Licks and Conventions describe how prelearned material and convention guided creation; Reaction, Forward Looking, and Repetition and Variety outline various processes that shape creation in the moment; and Aesthetics, Communication, and Emotion provide clues to the improvisers’ motivation behind choices. Interestingly, the use of prelearned patterns appears to facilitate improvisations in all the traditions represented. This and other identified strategies appearing cross-culturally may be indicative of shared underpinning cognitive processes. Identification of these shared strategies from a classical/jazz viewpoint may aid educators in broadening their curricula to include other musical traditions of improvisation.

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Choi, inyoung, and Yoonhan Jeon. "Characteristic of Impressionism Music from Bill Ecans's Improvisation: Compare and Analyze with Claude Achille Debussy Prelude Ⅰ,Ⅱ." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 835–43. http://dx.doi.org/10.33645/cnc.2023.12.45.12.835.

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Jazz, which originated in the United States in the late 19th and early 20th centuries, has developed by absorbing musical features of various cultures and genres from its birth. This study seeks to identify impressionistic features in the improvisations of jazz pianist Bill Evans and compare them with the music of the Impressionism composer Debussy. The scope of this research includes the scores in the Bill Evans Omnibus and the works of Debussy in the Preludes Book 1 and 2. The characteristics of Impressionism music include the use of whole-tone scales, chromatic scales, pentatonic scales, harmonic structures using notes other than chord components, and progressions that are taboo in classical music, and we found them in Bill Evans' improvisations. In the end, although jazz music has distinct characteristics from classical music, they are related, and many jazz musicians have been influenced by classical music throughout history.

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Дисертації з теми "Jazz musicians United States Biography"

Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Hall, Toby. "Tony Williams: rhythmic syntax in jazz drumming." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Lington, Aaron Joseph. "The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5576/.

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Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.

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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.
School of Music

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Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through the melodic analysis of selected original compositions.Findings1. John Graas was a classically-schooled horn player who studied with Max Pottag and Wilhelm Valkanier, and performed with the Indianapolis and Cleveland orchestras.2. He was best known for being the first horn player to achieve prominence in the jazz field. Graas acquired his jazz skills first as a performer with Thornhill, Beneke, and Kenton, and later as a composition student of Lennie Tristano, Shorty Rogers and Dr. Wesley LaViolette. 3. Numbering over one-hundred compositions, Graas’ works range from standard to innovative works for various-sized ensembles, including works for solo horn, solo piano, a television score, and his Jazz Symphony #1, written for full symphony orchestra and nine-piece jazz ensemble.Conclusions1. Graas was acknowledged as the first horn player to achieve prominence in the field of jazz, as recognized by such top, jazz polls as Down Beat, Metronome, and Playboy, from 1955 to 1961.2. His early improvisations helped to open the jazz field to future jazz hornists: Watkins, Amram, Ruff, Varner.3. Graas showed true pioneer spirit by working hard to expand limits placed on the horn by classical tradition, in order to reach a new and different standard of performance.
School of Music

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Seigfried, Karl Erik Haddock. ""At once old-timey and avant-garde" : the innovation and influence of Wilbur Ware." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101225.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman / by Andrew Norman Sugg." Thesis, 2001. http://hdl.handle.net/2440/21706.

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Includes bibliographical references (leaves 350-359).
xi, 359 leaves : music ; 30 cm.
Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2001

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Duncan, James Bryan. "Narrative frames and the works of John Coltrane." Thesis, 1999. http://hdl.handle.net/1957/33659.

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In Culture and Imperialism, Said illustrates that we have no "autonomous cultural forms," but rather "impure" ones that are the products of historically "discrepant experiences." American culture has an interesting relationship with the history of imperialism. The Europeans that settled the U.S. imported slave labor to assist in the growth of the new nation and this practice ironically "hybridized" American culture despite institutionalized segregation of the races, mixing disparate cultural ideas in a common social location. Said's theory fits an analysis of jazz in America since the music was instigated by the enslavement of native Africans, West Indians and inhabitants of the Caribbean, and the tensions this produced between traditional European and non-European cultural experiences are emblematic of its evolution into a popular form of music. Concomitant to its popularity in the later 1930s was a scholarly interest in the history of jazz, which culminated in narratives ascribing to it a recognizable "American" history and a set of familiar European aesthetic characteristics, neglecting the "discrepant experiences" of jazz history. During the 1940s, some artists were working with musical ideas that expanded the innovative spaces left open by those preceding them. Criticized for playing "anti-jazz," they produced music for audiences who were late to realize the significance of their contributions. Among them was John Coltrane, a saxophonist who took these controversial approaches into unconventional musical territories. Similar to the shortsighted criticisms weighed against his mentors, critics regarding Coltrane neglected the ways in which his music is important as an expression of the fundamental power struggles that are at the heart of American culture. I analyze several of Coltrane's recordings to illustrate how they are artifacts which can be studied for evidence of the tendency in narratives to preclude the "hybridity" important to the history of jazz. My focus is on the liner notes that accompany the recordings, which I read "contrapuntally" with other forces in their production in order to discuss the tensions between economics, communication and representation that are integral to an understanding of Coltrane's music.
Graduation date: 1999

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Книги з теми "Jazz musicians United States Biography"

Oliphant, Dave. KD: A jazz biography. San Antonio, Tex: Wings Press, 2012.

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Hillman, Christopher. Bunk Johnson: Life & times. Speldhurst: Spellmount, 1988.

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Hillman, Christopher. Bunk Johnson: His life & times. New York: Universe Books, 1988.

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Nolan, Tom, and Tom Nolan. Three chords for beauty's sake: The life of Artie Shaw. New York: W.W. Norton, 2010.

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Catalano, Nick. Clifford Brown: The life and art of the legendary jazz trumpeter. New York, NY: Oxford University, 2000.

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Mour, Stanley I. Innovators of American jazz. Berkeley Heights, NJ: Enslow, 2013.

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Gene, Jones, ed. Black bottom stomp: Eight masters of ragtime and early jazz. New York: Routledge, 2002.

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Jasen, David A. Black bottom stomp: Eight masters of ragtime and early jazz. New York: Routledge, 2001.

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Carr, Ian. Miles Davis: The definitive biography. New York: Thunder's Mouth Press, 1998.

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Pat, Metheny, and Niles Richard, eds. The Pat Metheny interviews: The inner workings of his creativity revealed. New York: Hal Leonard Books, 2009.

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Crow, Bill. "Prejudice." In Jazz Anecdotes, 148–59. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0018.

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Abstract Jazz helped to start the erosion of racial prejudice in America. The music was a strong magnet to those who had ears for it, and it drew whites and blacks together into a common experience. It was difficult to admire the music without admiring the musicians, and for many whites, educated in prejudice, it was their first chance to discover that blacks could be admirable. The process continued in other popular venues like professional sports and pop music. In the 1920s and ‘30s, black and white musicians enjoyed the social freedom they constructed for themselves within the jazz world, so different from the state of affairs in the rest of the United States at that time. Jazz musicians formed many warm and enduring interracial friendships. But it took a while longer for a few white bandleaders to risk presenting black musicians with their bands. The black pioneers in those bands told many stories of the bitter resistance in the music business to this change. Meanwhile all traveling black musicians faced the hard realities of going into hostile territory to work.

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Marlow, Eugene. "Beijing’s Leading Indigenous and Expat Jazz Musicians." In Jazz in China, 155–78. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0014.

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This chapter focuses on jazz musicians in Beijing. While Shanghai owned China's jazz history spotlight in the first half of the twentieth century, Beijing is not without its own indigenous leading lights, musically speaking. Some have been trained in classical music in China and in the United States and have returned to Beijing to perform; others are self-taught. Many are young; some have been around before and after Mao. All are devoted to the music. In Beijing, saxophonist Fan Shengqi is by all accounts the most enduring jazz musician who performed before, during and after Mao. His involvement in the contemporary Chinese music scene is reflected in his participation in China's first guitar festival, held in August 2005 on what is described as “scenic Hainan Island” located in the South China Sea.

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Jr., Samuel A. Floyd. "African Roots of Jazz." In The Oxford Companion To Jazz, 7–16. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0002.

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Abstract African-American musical practices in the United States cannot be traced directly to specific populations in Africa with any degree of certainty. But it is possible to document certain general practices that are common to music in Africa and to black music in the United States and widespread in both. Thus we can draw reasonable conclusions about possible relationships between musical practices in Africa and those among jazz musicians in the United States. It can be hypothesized, for example, and determined to a high degree of certainty, that particular musical tendencies were brought with Africans to the New World, preserved within and outside the dancing ring of slave culture, and spread throughout African-derived populations in the United States, eventually becoming an integral part of the music we now know as jazz.

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Goldschmitt, K. E. "Copying the Bossa Nova." In Bossa Mundo, 24–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0002.

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This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.

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Weltak, Marcel. "Jazz in Suriname." In Surinamese Music in the Netherlands and Suriname, 86–91. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0008.

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There was an enormous influx of jazz in Suriname itself, especially in the decades after World War II. Jazz and swing got their niche alongside other more traditional native music and European classical and ‘light’ entertainment music. Many Surinamers were inspired by jazz from the United States. A few of them founded their own jazz bands. Jazz records came into the country via the American soldiers who were stationed in Suriname during World War II “to protect the bauxite industry.” Musicians in Paramaribo first heard and saw the North American orchestras in the movie houses.

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Marlow, Eugene. "The Japanese Invasion." In Jazz in China, 67–78. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0007.

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During World War II, the Japanese constructed prisoner of war camps in fifteen countries, including China. These camps numbered approximately 240. The Japanese—whose attack on Pearl Harbor in 1941 brought the United States into World War II— saw their global role as manifest destiny, particularly with respect to China. Militarist Japan's attempt to conquer China began by seizing Manchuria in 1931 and became a full-fledged invasion from 1937 [when they attacked Shanghai] to 1945. This chapters shows that American jazz musicians—all of whom were playing in Shanghai—were not immune to the Japanese invasion and occupation. Some landed in internment camps in China and the Philippines.

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Gazit, Ofer. "The Loop." In Jazz Migrations, 32–55. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197682777.003.0002.

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Abstract This chapter examines the relationship between the academization of jazz education and its contribution to the proliferation of migrants in the New York jazz scene. Building on recent literature on the growing centrality of jazz schools in jazz training, the chapter follows the globalization of jazz education since the 1990s through case studies in India, Israel, and the Bronx. It documents efforts by American jazz programs to recruit international students and traces the role of schools as conduits for migrant musicians into the United States through the facilitation of visas and award of scholarships. It concludes with a discussion of the blurring of boundaries between educational institutions and performance venues, and of how such processes create an economic imbalance between studying, teaching, and performing jazz. The chapter argues that these processes have an important effect on the socioeconomic and racial makeup of the musician population in the New York jazz scene.

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Welburn, Ron. "Jazz Criticism." In The Oxford Companion To Jazz, 745–55. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0058.

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Abstract Jazz cnt1c1sm is a significant branch of music cnt1c1sm. It began as a journalistic phenomenon, a new literature for a new music in a new century. In the United States, the home of jazz, those who wrote about it contributed to the making of this fresh and distinct form of journalism about a stimulating indigenous musical form. Jazz criticism defines and explains jazz’s evolving styles and plays a controversial role as liaison between performer, performance interpretation, and listener tastes. It reflects the intense debates about the music it describes, and occasionally it has antagonized the public’s preferences for dancing, listening, and appreciating the art of jazz. In the 1930s the jazz critic emerged as both a studious listener and an irritant to musicians and fans. As jazz aficionados developed their own publications, jazz writing found an identity as a viable and informative prose form, and how it developed reflects how criticism for a cultural genre evolves. Jazz criticism is as phenomenal as film criticism and has no other kindred precedent. The emergence of a serious critical journalism for lowly jazz was heretical to followers of classical music.

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Gioia, Ted. "Jazz without Boundaries." In The History of Jazz, 477–506. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.003.0010.

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This chapter looks at the spread of jazz—both geographically and institutionally. Almost from the start, jazz seemed destined to travel beyond its birthplace in New Orleans, but the pace of that expansion has accelerated in recent decades. Europe, which once looked to the United States for jazz role models, is increasingly self-sufficient, and other regions are also developing strong, homegrown jazz scenes. At the same time, jazz has broken down other barriers, entering schools and universities, and enjoying the support of influential nonprofit organizations such as Jazz at Lincoln Center. This shift has led to the rise of a new generation of musicians who have learned their craft in formal jazz education programs, and in many instances also teach at them, but also operate with fluency in the world of commercial music and popular culture. Artists discussed in this chapter include Brad Mehldau, Regina Carter, Esbjörn Svensson (and his band e.s.t.), and Joshua Redman.

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Gioia, Ted. "The Swing Era." In The History of Jazz, 135–98. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195090819.003.0005.

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Abstract The onset of the Great Depression had a chilling effect on the jazz world, as it did on the whole entertainment industry. Record sales in the United States had surpassed one hundred million in 1927, but by 1932 only six million were sold—a staggering decline of over 90 percent! Small record companies, a flourishing sector of entrepreneurial activity during the previous decade, shut their doors one by one, and a whole industry appeared to be on the verge of extinction. During this same period, the growing popularity of talking movies led many theaters to halt the elaborate live shows that had previously been a staple of popular entertainment in most cities, further reducing paying jobs for musicians.

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