{"title":"The Night I Became a Jazz Musician","authors":"B. Kirchner","doi":"10.14713/JJS.V9I2.67","DOIUrl":"https://doi.org/10.14713/JJS.V9I2.67","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114683368","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 review of Bruce D. Epperson's More Important Than the Music: A History of Jazz Discography .
布鲁斯·d·艾普森的《比音乐更重要:爵士乐唱片史》书评。
{"title":"Giving Discographers Their Due","authors":"Edward Berger","doi":"10.14713/jjs.v9i2.69","DOIUrl":"https://doi.org/10.14713/jjs.v9i2.69","url":null,"abstract":"A review of Bruce D. Epperson's More Important Than the Music: A History of Jazz Discography .","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130997585","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 explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.
{"title":"Of icons and iconography : seeing Jimmie Blanton","authors":"Matthias Heyman","doi":"10.14713/JJS.V10I2.88","DOIUrl":"https://doi.org/10.14713/JJS.V10I2.88","url":null,"abstract":"This article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126628322","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}
The focus of this study is the melodic motive. It uses a tool called the Ordered Step Motive (OSM) to investigate the way linear motives give shape to jazz compositions that have frequently changing tonal centers, nonfunctional chord connections, no clear global tonics, or structurally open, circular forms. This study contributes to the written body of theoretical knowledge about jazz composition by engaging with current scholarship on tonal ambiguity, circular form, and motivic associations between melody and harmonic organization. This study also invites further research into the relationship between common riffs and underlying structure in jazz composition, which may reveal crucial differences between standards written by Broadway and Tin-Pan-Alley composers and those written by practicing jazz musicians.
{"title":"Ordered Step Motives in Jazz Standards","authors":"Keith Salley","doi":"10.14713/JJS.V8I2.42","DOIUrl":"https://doi.org/10.14713/JJS.V8I2.42","url":null,"abstract":"The focus of this study is the melodic motive. It uses a tool called the Ordered Step Motive (OSM) to investigate the way linear motives give shape to jazz compositions that have frequently changing tonal centers, nonfunctional chord connections, no clear global tonics, or structurally open, circular forms. This study contributes to the written body of theoretical knowledge about jazz composition by engaging with current scholarship on tonal ambiguity, circular form, and motivic associations between melody and harmonic organization. This study also invites further research into the relationship between common riffs and underlying structure in jazz composition, which may reveal crucial differences between standards written by Broadway and Tin-Pan-Alley composers and those written by practicing jazz musicians.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114703789","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":"Jazz Studies: Mainstream or Listing in a Sea of Ideology?","authors":"Randall Sandke","doi":"10.14713/JJS.V8I2.44","DOIUrl":"https://doi.org/10.14713/JJS.V8I2.44","url":null,"abstract":"Sandke's response to Andrew Sanchirico's review essay, \"Is Conventional Jazz History Distorted by Myths?\" in Journal of Jazz Studies issue 8.2.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133813955","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}
The author sits down with five renowned jazz educators--Jamey Aebersold, David Baker, Dan Haerle, Rufus Reid, and Jerry Coker--for an enlightening conversation about the state of jazz education.
{"title":"Starting with the ABC and HR of It: A Conversation on the State of Jazz Education with Five Renowned Jazz Educators","authors":"Jerry Tolson","doi":"10.14713/JJS.V9I2.73","DOIUrl":"https://doi.org/10.14713/JJS.V9I2.73","url":null,"abstract":"The author sits down with five renowned jazz educators--Jamey Aebersold, David Baker, Dan Haerle, Rufus Reid, and Jerry Coker--for an enlightening conversation about the state of jazz education.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123596276","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}
The aims of this essay are twofold. On one level, it is a careful look at three recent textbooks on jazz theory. On another level, it extrapolates from its status as a review to consider what jazz theory is today.
{"title":"Jazz Harmony: A Progress Report","authors":"C. Stover","doi":"10.14713/JJS.V10I2.89","DOIUrl":"https://doi.org/10.14713/JJS.V10I2.89","url":null,"abstract":"The aims of this essay are twofold. On one level, it is a careful look at three recent textbooks on jazz theory. On another level, it extrapolates from its status as a review to consider what jazz theory is today.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133008684","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}
The richness and complexity of layered meanings hidden inside Scott Joplin's opera, Treemonisha leaves one wondering. Is it an exception in his opus? Or did he weave a similarly thick web of symbols in other pieces as well? It is known that The Crush Collision March and Wall Street Rag bear headings pointing to the specific events described—a deliberate train collision organized in September 1896 and the moods unleashed by the October 1907 stock market panic. Also, The Cascades makes reference to actual cascades built for the 1904 St. Louis World Exposition and shown on the original cover. Such facts suggest a consistent approach on Joplin’s part. If so, more evidence might exist. Actually, this writer detected descriptive elements in Solace and Country Club ; their decipherment was delivered in a video-recorded presentation but not yet committed to paper. The logical next step was, tackling the daunting task of systematically decoding all of Joplin’s titles and covers to go beyond isolated cases and seek evidence of a recurring approach. This research yielded a rich harvest. Its crux, although cumbersome, will ultimately require a comprehensive exposition, as it calls for a unified discussion. However, Magnetic Rag has a somewhat separate story, that calls for a separate treatment. Readers are thus invited to take this essay as a first morsel of a bigger—and hopefully tempting—musicological banquet.
{"title":"Garibaldi to Syncopation: Bruto Giannini and the Curious Case of Scott Joplin’s Magnetic Rag","authors":"M. Piras","doi":"10.14713/JJS.V9I2.71","DOIUrl":"https://doi.org/10.14713/JJS.V9I2.71","url":null,"abstract":"The richness and complexity of layered meanings hidden inside Scott Joplin's opera, Treemonisha leaves one wondering. Is it an exception in his opus? Or did he weave a similarly thick web of symbols in other pieces as well? It is known that The Crush Collision March and Wall Street Rag bear headings pointing to the specific events described—a deliberate train collision organized in September 1896 and the moods unleashed by the October 1907 stock market panic. Also, The Cascades makes reference to actual cascades built for the 1904 St. Louis World Exposition and shown on the original cover. Such facts suggest a consistent approach on Joplin’s part. If so, more evidence might exist. Actually, this writer detected descriptive elements in Solace and Country Club ; their decipherment was delivered in a video-recorded presentation but not yet committed to paper. The logical next step was, tackling the daunting task of systematically decoding all of Joplin’s titles and covers to go beyond isolated cases and seek evidence of a recurring approach. This research yielded a rich harvest. Its crux, although cumbersome, will ultimately require a comprehensive exposition, as it calls for a unified discussion. However, Magnetic Rag has a somewhat separate story, that calls for a separate treatment. Readers are thus invited to take this essay as a first morsel of a bigger—and hopefully tempting—musicological banquet.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130670190","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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