(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.
(开头段落):在这篇文章中，我引用了英格丽德·蒙森所定义的音乐间性概念，并阐述了它在音乐世界的意义创造中的作用。她的开创性著作《说点什么:爵士即兴演奏与互动》(1996)对爵士即兴演奏及其意义的建构进行了复杂的批评。在这样做的过程中，它探索的方法，其中细微差别和/或破裂传统的历史编纂，构建爵士乐佳能。除了音乐间性之外，我认为更普遍的互文性是一扇解释学的窗口，它打破了迄今为止经常构建爵士乐传统的“伟人”历史。我认为互文性的概念在调解爵士乐(种族或其他)的本质主义问题时特别有用，考虑到实践能力和艺术家在文本主体中的特殊处境。与实证主义分类法所产生的什么是爵士乐/什么不是爵士乐的定义相反，这种观点为其中必要的新颖性和实验性的重新定义工作留下了空间。这与Steven B. Elworth(1995)的说法产生了共鸣:“爵士乐传统远非一个不变的、容易理解的历史领域，而是一个不断变化的结构”(58)。在我对历史和“进步”的线性观念(因此也是终极目标)的怀疑中，我更喜欢质疑和认可新奇与传统的复杂关系。这些元类别的协商是即兴音乐家工作的核心;将世界上不同的存在方式与音乐理念和实践相结合，创造新的音乐社会文化整体。
{"title":"Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”","authors":"A. Kluth","doi":"10.14713/jjs.v12i1.117","DOIUrl":"https://doi.org/10.14713/jjs.v12i1.117","url":null,"abstract":"(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.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133715103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Spirits Rejoice!: Jazz and American Religion\" by Jason C. Bivins","authors":"B. Shelley","doi":"10.14713/JJS.V11I2.114","DOIUrl":"https://doi.org/10.14713/JJS.V11I2.114","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122344451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen\" by Sherrie Tucker","authors":"Hannah Mackenzie-Margulies","doi":"10.14713/JJS.V11I2.115","DOIUrl":"https://doi.org/10.14713/JJS.V11I2.115","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126859622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. The Spanish jazz scene has been documented in a handful of publications (e.g., García Martínez 1996), a few authors have written on socio-musical aspects of the flamenco jazz scene (Iglesias 2005; Germán Herrero 1991; Lag-López 2006; Salinas Rodríguez 1994; Steingress 2004), and certain sorts of information regarding leading flamenco jazz performers are of course available on the internet. However, nothing has been published on flamenco jazz in the way of formal analytical studies except for two useful articles by Juan Zagalaz (2012a and 2012b) regarding the early fusion music of Jorge Pardo. The present article does not attempt to provide an ethnography of the flamenco jazz scene nor a historical survey of the genre replete with obligatory names and dates. Rather, it aims to
{"title":"Flamenco Jazz: an Analytical Study","authors":"Peter Manuel","doi":"10.14713/JJS.V11I2.113","DOIUrl":"https://doi.org/10.14713/JJS.V11I2.113","url":null,"abstract":"Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. The Spanish jazz scene has been documented in a handful of publications (e.g., García Martínez 1996), a few authors have written on socio-musical aspects of the flamenco jazz scene (Iglesias 2005; Germán Herrero 1991; Lag-López 2006; Salinas Rodríguez 1994; Steingress 2004), and certain sorts of information regarding leading flamenco jazz performers are of course available on the internet. However, nothing has been published on flamenco jazz in the way of formal analytical studies except for two useful articles by Juan Zagalaz (2012a and 2012b) regarding the early fusion music of Jorge Pardo. The present article does not attempt to provide an ethnography of the flamenco jazz scene nor a historical survey of the genre replete with obligatory names and dates. Rather, it aims to","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127613880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes two approaches to the jazz past undertaken recently under the aegis of “jazz reenactment”: Mostly Other People Do the Killing’s 2014 release of Blue (a note-for-note re-performance of the Miles Davis Sextet’s 1959 album, Kind of Blue ) and Jason Moran’s multi-media re-visiting of Thelonious Monk’s 1959 Town Hall Concert, “In My Mind: Monk at Town Hall, 1959.” I contend that rather than an ironic critique of the canonization of jazz, Blue is a direct product of the same tradition of understanding the past that informs such canonization. This tradition is based in an epistemology that privileges objectivity, logic, boundaries, and an obsession with naming while suspecting the subjective and what cannot be named. Jason Moran’s “In My Mind,” however, offers a different understanding of the past, one rooted in ambiguity and connection rather than delineation and separation. I argue that this latter understanding offers a necessary critique of conceptions of the past and of self and other found in the dominant Western worldview.
本文分析了最近在“爵士重现”的支持下所采取的两种爵士乐过去的方法:2014年发行的《蓝色》(对迈尔斯·戴维斯六重奏乐队1959年的专辑《Kind of Blue》进行了一遍又一遍的重播)和杰森·莫兰(Jason Moran)对塞隆尼斯·蒙克1959年市政厅音乐会的多媒体重播，“在我的脑海里:1959年市政厅的蒙克”。我认为，与其说这是对爵士乐被封为圣徒的一种讽刺批评，倒不如说，《蓝色》是理解过去的同一种传统的直接产物，这种传统为这种封为圣徒提供了信息。这种传统是基于一种认识论，它赋予客观性、逻辑性、边界特权，并痴迷于命名，同时怀疑主观和不能命名的东西。然而，杰森·莫兰(Jason Moran)的《在我的脑海里》(In My Mind)对过去提供了一种不同的理解，它植根于模糊和联系，而不是描绘和分离。我认为，后一种理解对西方主流世界观中的过去、自我和他者概念提供了必要的批判。
{"title":"Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959”","authors":"Tracy M McMullen","doi":"10.14713/jjs.v11i2.112","DOIUrl":"https://doi.org/10.14713/jjs.v11i2.112","url":null,"abstract":"This article analyzes two approaches to the jazz past undertaken recently under the aegis of “jazz reenactment”: Mostly Other People Do the Killing’s 2014 release of Blue (a note-for-note re-performance of the Miles Davis Sextet’s 1959 album, Kind of Blue ) and Jason Moran’s multi-media re-visiting of Thelonious Monk’s 1959 Town Hall Concert, “In My Mind: Monk at Town Hall, 1959.” I contend that rather than an ironic critique of the canonization of jazz, Blue is a direct product of the same tradition of understanding the past that informs such canonization. This tradition is based in an epistemology that privileges objectivity, logic, boundaries, and an obsession with naming while suspecting the subjective and what cannot be named. Jason Moran’s “In My Mind,” however, offers a different understanding of the past, one rooted in ambiguity and connection rather than delineation and separation. I argue that this latter understanding offers a necessary critique of conceptions of the past and of self and other found in the dominant Western worldview.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116795017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A roundtable featuring Keith Waters, Henry Martin, Steve Larson, and Steven Strunk. The talk frames general principles of circular tunes and explores two of them from the 1960s: "Blue in Green" and "Nefertiti."
{"title":"Circular Thinking: A Roundtable on \"Blue in Green\" and \"Nefertiti\"","authors":"K. Waters, H. Martin, S. Larson, Steven Strunk","doi":"10.14713/JJS.V11I1.111","DOIUrl":"https://doi.org/10.14713/JJS.V11I1.111","url":null,"abstract":"A roundtable featuring Keith Waters, Henry Martin, Steve Larson, and Steven Strunk. The talk frames general principles of circular tunes and explores two of them from the 1960s: \"Blue in Green\" and \"Nefertiti.\"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131761656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Keith Salley and Dan Shanahan’s “Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study” reflects a number of Steven Strunk's scholarly interests. The authors encourage readers to consider how the layered analyses at the end of Strunk’s seminal “Harmony of Early Bop” article ( JJS 6.1) agree, depart from, or inform the processes discussed in their contribution. Furthermore, Salley and Shanahan’s broad stylistic survey of standard jazz tunes resonates notably with Strunk’s work—particularly his “Linear Intervallic Patterns in Jazz Repertory” ( ARJS 8) and his entry on “Harmony” in the New Grove Dictionary of Jazz .
Keith Salley和Dan Shanahan的《标准爵士曲目中的乐句节奏:分类和语料库研究》反映了Steven Strunk的一些学术兴趣。作者鼓励读者思考Strunk开创性的“早期Bop的和谐”文章(JJS 6.1)结尾的分层分析是如何与他们的贡献中讨论的过程一致、不同或不同的。此外，Salley和Shanahan对标准爵士曲调的广泛风格调查与斯特伦克的作品产生了明显的共鸣，特别是他的“爵士剧目中的线性音程模式”(ARJS 8)和他在新格罗夫爵士词典中的“和声”条目。
{"title":"Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study","authors":"Keith Salley, D. Shanahan","doi":"10.14713/JJS.V11I1.107","DOIUrl":"https://doi.org/10.14713/JJS.V11I1.107","url":null,"abstract":"Keith Salley and Dan Shanahan’s “Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study” reflects a number of Steven Strunk's scholarly interests. The authors encourage readers to consider how the layered analyses at the end of Strunk’s seminal “Harmony of Early Bop” article ( JJS 6.1) agree, depart from, or inform the processes discussed in their contribution. Furthermore, Salley and Shanahan’s broad stylistic survey of standard jazz tunes resonates notably with Strunk’s work—particularly his “Linear Intervallic Patterns in Jazz Repertory” ( ARJS 8) and his entry on “Harmony” in the New Grove Dictionary of Jazz .","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133800175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Editor Henry Martin remembers jazz music theory scholar, pianist, composer, friend, and former Journal of Jazz Studies editorial board member, Steven Strunk, who passed on February 20, 2012.
{"title":"In Memoriam Steven Strunk (1943-2012)","authors":"H. Martin","doi":"10.14713/JJS.V11I1.109","DOIUrl":"https://doi.org/10.14713/JJS.V11I1.109","url":null,"abstract":"Editor Henry Martin remembers jazz music theory scholar, pianist, composer, friend, and former Journal of Jazz Studies editorial board member, Steven Strunk, who passed on February 20, 2012.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121946212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Joon Park takes a closer look at Steven Strunk's innovative application of the neo-Riemannian Tonnetz to jazz. Strunk reinterprets neo-Riemannian transformations as geometric reflections—as opposed to more conventional group theory operations—showing his understanding of jazz performance practice. Park clarifies the difference between conventional methods and Strunk's. In addition to illustrating Steve’s close accord with jazz performance practice, Park extends his work by representing Z-related sets on the Tonnetz.
{"title":"Reflections on (and in) Strunk's Tonnetz","authors":"Joon Park","doi":"10.14713/JJS.V11I1.108","DOIUrl":"https://doi.org/10.14713/JJS.V11I1.108","url":null,"abstract":"Joon Park takes a closer look at Steven Strunk's innovative application of the neo-Riemannian Tonnetz to jazz. Strunk reinterprets neo-Riemannian transformations as geometric reflections—as opposed to more conventional group theory operations—showing his understanding of jazz performance practice. Park clarifies the difference between conventional methods and Strunk's. In addition to illustrating Steve’s close accord with jazz performance practice, Park extends his work by representing Z-related sets on the Tonnetz.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121543353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Steven Strunk's analysis and transcription of Bill Evans's 1959 "Autumn Leaves" with an editorial preface by Keith Salley.
史蒂文·斯特伦克对比尔·埃文斯1959年的《秋叶》进行了分析和转录，基思·萨利为其撰写了社论序言。
{"title":"Melodic Structure in Bill Evans's 1959 \"Autumn Leaves\"","authors":"Steven Strunk","doi":"10.14713/JJS.V11I1.110","DOIUrl":"https://doi.org/10.14713/JJS.V11I1.110","url":null,"abstract":"Steven Strunk's analysis and transcription of Bill Evans's 1959 \"Autumn Leaves\" with an editorial preface by Keith Salley.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121226893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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