Pub Date : 2021-05-04DOI: 10.1080/17494060.2021.1988345
Marian Jago
One of the most interesting and downright fun parts of editing a journal such as Jazz Perspectives is the ability to facilitate just that – the sharing of multiple points of view and points of entry for considering jazz as music and as/in culture. This issue is, I think, a pretty good example of how broad perspectives on jazz so often coalesce serendipitously: Alan Ainsworth walks us through the often less considered visual and nonsounding aspects of jazz via his work on the rhetorical content of jazz studio portraits 1920-1945; Brian Harker tackles the controversy surrounding Miles Davis, Dizzy Gillespie, and authorship in the performance of “Ko Ko” and considers the various elements at stake in such debates; and Sean Smither applies the concept of avant-texte to an exploration of the relationship between “All the Things You Are” and it’s various expressions. We also have a book review by Rebecca Zola of the recent collection Playing for Keeps: Improvisation in the Aftermath; and two reviews of the recent film The United States vs. Billie Holiday (2021), one from journal co-founder Lewis Porter, and the other from Gayle Murchison who brings the lens of #BLM to bear. As the global Covid-19 pandemic continues to impact lives around the world, I am particularly grateful to those authors and reviewers (as well as my fellow editors here at Jazz Perspectives) who have taken the time to share their work and experience with us.
编辑像《爵士视角》这样的期刊最有趣、最纯粹的乐趣之一就是能够促进这种交流——分享多种观点和切入点，将爵士乐视为音乐和文化。我认为，这个问题是一个很好的例子，说明了对爵士乐的广泛看法是如何经常偶然地结合在一起的:艾伦·安斯沃思(Alan Ainsworth)通过他对1920-1945年爵士乐工作室肖像的修辞内容的研究，向我们展示了爵士乐中经常被忽视的视觉和非声音方面;布莱恩·哈克(Brian Harker)处理了围绕迈尔斯·戴维斯(Miles Davis)、迪兹·吉莱斯皮(Dizzy Gillespie)和“Ko Ko”表演的作者身份的争议，并考虑了这些争论中利害攸关的各种因素;Sean Smither则运用先锋文本(avant-text)的概念来探索“All the Things You Are”与其各种表达之间的关系。我们还有丽贝卡·佐拉(Rebecca Zola)对最近出版的《为生存而战:事后即兴创作》的书评;以及最近上映的电影《美国大战比莉·霍乐迪》(2021)的两篇评论，一篇来自期刊联合创始人刘易斯·波特，另一篇来自盖尔·默奇森，他把#BLM的镜头带到了人们的视野中。随着全球Covid-19大流行继续影响世界各地的生活，我特别感谢那些花时间与我们分享他们的工作和经验的作者和审稿人(以及我在Jazz Perspectives的同事编辑)。
{"title":"Editor’s note","authors":"Marian Jago","doi":"10.1080/17494060.2021.1988345","DOIUrl":"https://doi.org/10.1080/17494060.2021.1988345","url":null,"abstract":"One of the most interesting and downright fun parts of editing a journal such as Jazz Perspectives is the ability to facilitate just that – the sharing of multiple points of view and points of entry for considering jazz as music and as/in culture. This issue is, I think, a pretty good example of how broad perspectives on jazz so often coalesce serendipitously: Alan Ainsworth walks us through the often less considered visual and nonsounding aspects of jazz via his work on the rhetorical content of jazz studio portraits 1920-1945; Brian Harker tackles the controversy surrounding Miles Davis, Dizzy Gillespie, and authorship in the performance of “Ko Ko” and considers the various elements at stake in such debates; and Sean Smither applies the concept of avant-texte to an exploration of the relationship between “All the Things You Are” and it’s various expressions. We also have a book review by Rebecca Zola of the recent collection Playing for Keeps: Improvisation in the Aftermath; and two reviews of the recent film The United States vs. Billie Holiday (2021), one from journal co-founder Lewis Porter, and the other from Gayle Murchison who brings the lens of #BLM to bear. As the global Covid-19 pandemic continues to impact lives around the world, I am particularly grateful to those authors and reviewers (as well as my fellow editors here at Jazz Perspectives) who have taken the time to share their work and experience with us.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45488387","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}
Pub Date : 2021-05-04DOI: 10.1080/17494060.2021.1947870
A. Ainsworth
ABSTRACT This article explores the context and rhetoric of jazz studio portraiture between 1920–45. Often dismissed as publicity material, portraiture as a site of performative agency has been underestimated. These photographs were among the first conscious representations of jazz and tell us much about the emerging self-identity of jazz musicians. In a celebrity age exemplified by Hollywood glamor photography, portraiture was a key element in the negotiation with commercial entertainment and cultural modernity by both African American and white jazz musicians although the racialized entertainment discourse created sharp tensions for black players. Contrasted with the modernist photography emerging from the Hollywood studios however jazz portraits lacked the rhetorical certainty of celebrity discourse. The ambition of jazz portraiture to narrativize the place of jazz in relation to mass entertainment was consistently pulled between constructions of musical artistry and entertainment, between art and commerce, and its divorce from performance settings underscored these ambiguities. In providing scope for the performative agency of musicians, the rhetoric of jazz studio portraiture visualizes the complexities in the relationships between jazz and mainstream culture and undermines the simple antinomies often used to describe these relationships.
{"title":"Rhetoric of the Jazz Studio Portrait","authors":"A. Ainsworth","doi":"10.1080/17494060.2021.1947870","DOIUrl":"https://doi.org/10.1080/17494060.2021.1947870","url":null,"abstract":"ABSTRACT This article explores the context and rhetoric of jazz studio portraiture between 1920–45. Often dismissed as publicity material, portraiture as a site of performative agency has been underestimated. These photographs were among the first conscious representations of jazz and tell us much about the emerging self-identity of jazz musicians. In a celebrity age exemplified by Hollywood glamor photography, portraiture was a key element in the negotiation with commercial entertainment and cultural modernity by both African American and white jazz musicians although the racialized entertainment discourse created sharp tensions for black players. Contrasted with the modernist photography emerging from the Hollywood studios however jazz portraits lacked the rhetorical certainty of celebrity discourse. The ambition of jazz portraiture to narrativize the place of jazz in relation to mass entertainment was consistently pulled between constructions of musical artistry and entertainment, between art and commerce, and its divorce from performance settings underscored these ambiguities. In providing scope for the performative agency of musicians, the rhetoric of jazz studio portraiture visualizes the complexities in the relationships between jazz and mainstream culture and undermines the simple antinomies often used to describe these relationships.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1947870","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46047951","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}
Pub Date : 2021-05-04DOI: 10.1080/17494060.2021.1940583
R. Zola
Playing for Keeps is a collection of essays bound together by the common thread of the word “improvisation” in interaction with situations of crisis, such as in the aftermath of war, as a response to destruction or occupation, or as a way of protest, healing, or reflection. The way in which improvisation comes to be expressed in each chapter is diverse, and sometimes feels foreign when moving from one essay to the next. Improvisation in certain chapters may refer to a specific musical performative act, while in other chapters, may refer to improvising creative processes (Vos), improvisation as a mode of subversive messaging (Lomanno), as a method for negotiation between different musical and cultural practices (Galloway), or as a form of “witnessing” (Fischlin). While on one hand, improvisation morphs into a catch-all, fulfilling so many different definitions and interpretations, it can also be illuminating to understand the many ways that the term can be applied to social-musical contexts. Academic writing that intersects improvisational studies and interdisciplinary arts practices (addressing improvisation from multiple academic fields and perspectives) is becoming increasingly popular in recent publications. Playing for Keeps is part of a series from Duke University Press called Improvisation, Community and Social Practice that falls into this subgenre. The other four books from the series that predate Playing for Keeps also focus on improvisation, but have slightly different approaches. The first two books in the series, People Get Ready: The Future of Jazz is Now!, and The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of CoCreation focus on improvisation in jazz and its connections with social change, referring to improvisation as a mode of musical practice. The third book of the series, Negotiated Moments: Improvisation, Sound and Subjectivity views improvisation in a more interdisciplinary light, in relation to the marginalized human body. The fourth, Improvisation and Social Aesthetics, leans into the scholarly territory of mediation and understanding social aesthetics, in the context of improvisational practices. Fischlin is also the editor of the journal Critical Studies in Improvisation, which provides ongoing research and perspectives in this ever-expanding field, and creates a space for debate and collaboration in negotiating “improvisation”. The Oxford Handbook of Critical Improvisation Studies (two volumes), which like the Critical Studies in Improvisation journal also include contributions from a range of disciplines outside of music, highlight how improvisation has been central to critical thinking
{"title":"Playing for Keeps: Improvisation in the Aftermath","authors":"R. Zola","doi":"10.1080/17494060.2021.1940583","DOIUrl":"https://doi.org/10.1080/17494060.2021.1940583","url":null,"abstract":"Playing for Keeps is a collection of essays bound together by the common thread of the word “improvisation” in interaction with situations of crisis, such as in the aftermath of war, as a response to destruction or occupation, or as a way of protest, healing, or reflection. The way in which improvisation comes to be expressed in each chapter is diverse, and sometimes feels foreign when moving from one essay to the next. Improvisation in certain chapters may refer to a specific musical performative act, while in other chapters, may refer to improvising creative processes (Vos), improvisation as a mode of subversive messaging (Lomanno), as a method for negotiation between different musical and cultural practices (Galloway), or as a form of “witnessing” (Fischlin). While on one hand, improvisation morphs into a catch-all, fulfilling so many different definitions and interpretations, it can also be illuminating to understand the many ways that the term can be applied to social-musical contexts. Academic writing that intersects improvisational studies and interdisciplinary arts practices (addressing improvisation from multiple academic fields and perspectives) is becoming increasingly popular in recent publications. Playing for Keeps is part of a series from Duke University Press called Improvisation, Community and Social Practice that falls into this subgenre. The other four books from the series that predate Playing for Keeps also focus on improvisation, but have slightly different approaches. The first two books in the series, People Get Ready: The Future of Jazz is Now!, and The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of CoCreation focus on improvisation in jazz and its connections with social change, referring to improvisation as a mode of musical practice. The third book of the series, Negotiated Moments: Improvisation, Sound and Subjectivity views improvisation in a more interdisciplinary light, in relation to the marginalized human body. The fourth, Improvisation and Social Aesthetics, leans into the scholarly territory of mediation and understanding social aesthetics, in the context of improvisational practices. Fischlin is also the editor of the journal Critical Studies in Improvisation, which provides ongoing research and perspectives in this ever-expanding field, and creates a space for debate and collaboration in negotiating “improvisation”. The Oxford Handbook of Critical Improvisation Studies (two volumes), which like the Critical Studies in Improvisation journal also include contributions from a range of disciplines outside of music, highlight how improvisation has been central to critical thinking","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1940583","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49522435","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}
Pub Date : 2021-05-04DOI: 10.1080/17494060.2021.1924227
Sean R. Smither
ABSTRACT Jerome Kern's “All the Things You Are” has enjoyed a lengthy and varied history as a jazz standard. Like many other standards, hundreds of recordings of the tune exist, each rendition different from the last. This radically pluralistic identity makes it difficult to pin down what exactly “All the Things You Are” is. In this article, I argue that the notion of an avant-texte may be used to engage with the pluralistic identity of the jazz tune. Originally developed by literary scholars dealing with authors’ sketches, the term avant-texte describes a network of documents that can be traced in order to determine how the identity of a text is constituted and changes over time. I argue that improvisers construct such networks based on the versions of a tune with which they become familiar, eventually forming a referent for improvisation. By analyzing some of the manifold relations between various recordings of Kern's composition across history, I demonstrate how particular creative choices proliferate throughout the network and gradually alter not only the tune's current identity as a referent but also the future paths the tune's identity might take.
杰罗姆·科恩(Jerome Kern)的《你是什么》(All the Things You Are)作为爵士乐的标准曲有着悠久而多变的历史。像许多其他标准一样，这首曲子有数百个录音，每一个版本都与上一个不同。这种极端多元的身份使得我们很难确定“你是什么”到底是什么。在这篇文章中，我认为先锋派文本的概念可以用来参与爵士乐曲调的多元身份。“先锋文本”一词最初是由文学学者在处理作者的草图时发展起来的，它描述了一个可以追踪的文件网络，以确定文本的身份是如何构成的，以及随着时间的推移是如何变化的。我认为，即兴创作者根据他们熟悉的曲调版本构建这样的网络，最终形成即兴创作的参照。通过分析历史上Kern作品的各种录音之间的多种关系，我展示了特定的创造性选择如何在整个网络中扩散，并逐渐改变曲调当前作为参考物的身份，以及曲调身份可能采取的未来路径。
{"title":"All the Things Tunes Are: Avant-Textes and Referents in Jazz Improvisation","authors":"Sean R. Smither","doi":"10.1080/17494060.2021.1924227","DOIUrl":"https://doi.org/10.1080/17494060.2021.1924227","url":null,"abstract":"ABSTRACT Jerome Kern's “All the Things You Are” has enjoyed a lengthy and varied history as a jazz standard. Like many other standards, hundreds of recordings of the tune exist, each rendition different from the last. This radically pluralistic identity makes it difficult to pin down what exactly “All the Things You Are” is. In this article, I argue that the notion of an avant-texte may be used to engage with the pluralistic identity of the jazz tune. Originally developed by literary scholars dealing with authors’ sketches, the term avant-texte describes a network of documents that can be traced in order to determine how the identity of a text is constituted and changes over time. I argue that improvisers construct such networks based on the versions of a tune with which they become familiar, eventually forming a referent for improvisation. By analyzing some of the manifold relations between various recordings of Kern's composition across history, I demonstrate how particular creative choices proliferate throughout the network and gradually alter not only the tune's current identity as a referent but also the future paths the tune's identity might take.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1924227","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45209708","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}
Pub Date : 2021-01-02DOI: 10.1080/17494060.2021.1883709
Steven F. Pond
ABSTRACT This article argues that reissues – whether in the form of repackaged and re-released recordings that have gone out of print, recordings republished in new media with the change of playback technology, or collected as historical compilation albums – form a hub of activities by jazz collectors, critics, producers, and historians – roles often filled by the same person. As curated aural texts, reissues, in recurring fashion over jazz’s recorded past, form connective tissue for the distorted historical narrative of jazz as representing a “coherent whole.” The article tracks three broad historical moments in which reissues have played a crucial role in constructing the “jazz tradition” commonly portrayed in textbooks: (1) the rise of the reissues market through Commodore Records, (2) the pairing of collected tracks on compilation albums with a flourishing jazz history book trade in the postwar era, and (3) combining nostalgia for music of past decades with the advent of new recording and playback technology, and the move to remastered, completist collectors' series exemplified by Mosaic Records at the turn of the 21st century. The article ends with speculation about how the most recent uptick in reissuing might aid in disrupting the “jazz tradition” edifice.
{"title":"Old Wine, New Bottles: Record Collecting, Jazz Reissues, and the Jazz Tradition","authors":"Steven F. Pond","doi":"10.1080/17494060.2021.1883709","DOIUrl":"https://doi.org/10.1080/17494060.2021.1883709","url":null,"abstract":"ABSTRACT This article argues that reissues – whether in the form of repackaged and re-released recordings that have gone out of print, recordings republished in new media with the change of playback technology, or collected as historical compilation albums – form a hub of activities by jazz collectors, critics, producers, and historians – roles often filled by the same person. As curated aural texts, reissues, in recurring fashion over jazz’s recorded past, form connective tissue for the distorted historical narrative of jazz as representing a “coherent whole.” The article tracks three broad historical moments in which reissues have played a crucial role in constructing the “jazz tradition” commonly portrayed in textbooks: (1) the rise of the reissues market through Commodore Records, (2) the pairing of collected tracks on compilation albums with a flourishing jazz history book trade in the postwar era, and (3) combining nostalgia for music of past decades with the advent of new recording and playback technology, and the move to remastered, completist collectors' series exemplified by Mosaic Records at the turn of the 21st century. The article ends with speculation about how the most recent uptick in reissuing might aid in disrupting the “jazz tradition” edifice.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1883709","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44586802","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}
Pub Date : 2021-01-02DOI: 10.1080/17494060.2021.1895868
David Cosper
ABSTRACT This article proceeds from the observation that language describing the performances of jazz musicians and prizefighters with reference to one another is common to both sports writing and jazz criticism. I take this as an invitation to explore the historical context, critical significance, and musical implications of the interrelationship of these two crafts, with particular focus on Miles Davis's score to the documentary film A Tribute to Jack Johnson (1971). This begins with an unpacking of Davis's well-documented commitment to “the sweet science” in light of discourses of race and masculinity in mid-century US jazz culture. I then offer a close reading of one of the Jack Johnson session recordings as a musical analogue of the unique boxing cadence of Muhammad Ali, a contemporary athlete who embodied the Black Power-era reimagination of Jack Johnson realized in Davis's score/album.
{"title":"Sweet Science, Sweet Thunder: Jazz, Pugilism, and the Fine Art of Criticism","authors":"David Cosper","doi":"10.1080/17494060.2021.1895868","DOIUrl":"https://doi.org/10.1080/17494060.2021.1895868","url":null,"abstract":"ABSTRACT This article proceeds from the observation that language describing the performances of jazz musicians and prizefighters with reference to one another is common to both sports writing and jazz criticism. I take this as an invitation to explore the historical context, critical significance, and musical implications of the interrelationship of these two crafts, with particular focus on Miles Davis's score to the documentary film A Tribute to Jack Johnson (1971). This begins with an unpacking of Davis's well-documented commitment to “the sweet science” in light of discourses of race and masculinity in mid-century US jazz culture. I then offer a close reading of one of the Jack Johnson session recordings as a musical analogue of the unique boxing cadence of Muhammad Ali, a contemporary athlete who embodied the Black Power-era reimagination of Jack Johnson realized in Davis's score/album.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1895868","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49606369","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}
Pub Date : 2021-01-02DOI: 10.1080/17494060.2021.1889640
Sam McAuliffe
ABSTRACT It was in the 1990s that the metaphor commonly employed to explain and understand improvisation in jazz, “improvisation as conversation” came into prominence. In 2015 however, Wilson and MacDonald, from the perspective of music psychology, argued that this widespread model for understanding improvisation via language metaphors was inadequate to explain improvisation in music, broadly construed. While I agree with Wilson and MacDonald that there are flaws in the “improvisation as conversation” model, I also believe this model offers benefits and insights worth preserving. Thus, rather do away with the model, in this paper I defend a conversational understanding of improvisation by rethinking the idea of language and conversation that underpins the model. Instead of deploying a “rule-based” understanding of language, in this article I explore how understanding language as “conversation,” such as explicated in the philosophies of Gadamer and Davidson, might effectively address some of the challenges presented by Wilson and MacDonald.
{"title":"Defending the “Improvisation as Conversation” Model of Improvised Musical Performance","authors":"Sam McAuliffe","doi":"10.1080/17494060.2021.1889640","DOIUrl":"https://doi.org/10.1080/17494060.2021.1889640","url":null,"abstract":"ABSTRACT It was in the 1990s that the metaphor commonly employed to explain and understand improvisation in jazz, “improvisation as conversation” came into prominence. In 2015 however, Wilson and MacDonald, from the perspective of music psychology, argued that this widespread model for understanding improvisation via language metaphors was inadequate to explain improvisation in music, broadly construed. While I agree with Wilson and MacDonald that there are flaws in the “improvisation as conversation” model, I also believe this model offers benefits and insights worth preserving. Thus, rather do away with the model, in this paper I defend a conversational understanding of improvisation by rethinking the idea of language and conversation that underpins the model. Instead of deploying a “rule-based” understanding of language, in this article I explore how understanding language as “conversation,” such as explicated in the philosophies of Gadamer and Davidson, might effectively address some of the challenges presented by Wilson and MacDonald.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2021.1889640","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864018","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}
Pub Date : 2020-11-09DOI: 10.1080/17494060.2020.1840784
R. Bliek
The title of Matt Brennan’s book right away raises the question of what it means to write the history of a musical instrument. As a “social” history, Brennan “aims to situate the story of the drum ...
{"title":"Kick It: A Social History of the Drum Kit: by Matt Brennan, New York, Oxford University Press, 2020, 384 pp., $29.95 (paperback), ISBN 978-0-19-068387-0","authors":"R. Bliek","doi":"10.1080/17494060.2020.1840784","DOIUrl":"https://doi.org/10.1080/17494060.2020.1840784","url":null,"abstract":"The title of Matt Brennan’s book right away raises the question of what it means to write the history of a musical instrument. As a “social” history, Brennan “aims to situate the story of the drum ...","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1840784","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104735","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}
Pub Date : 2020-09-01DOI: 10.1080/17494060.2020.1833071
Katherine M. Leo
ABSTRACT A 1917 copyright lawsuit over sheet music pursuant to the Original Dixieland Jazz Band’s first commercially successful record revealed challenges in determining legal authorial attribution and ownership for musicians more accustomed to communal creative processes. The case unearthed a network of at least ten eligible musicians, but it was eventually dismissed, such that no musician could be legally recognized as author – a decision that left many wondering: who created “Livery Stable Blues”? By examining extant court documents, this article demonstrates how distributed authorship models can facilitate more acute understandings of creative processes in early blues and jazz.
1917年，一场针对原始迪克西兰爵士乐队(Original Dixieland Jazz Band)第一张商业成功唱片的乐谱版权诉讼，揭示了对于更习惯于共同创作过程的音乐家来说，确定合法作者归属和所有权的挑战。这起案件揭露了一个由至少10名符合条件的音乐家组成的网络，但最终被驳回，这样就没有音乐家可以在法律上被承认为作者——这一决定让许多人想知道:是谁创作了“Livery Stable Blues”?通过检查现存的法庭文件，本文演示了分布式作者模型如何促进对早期蓝调和爵士创作过程的更敏锐的理解。
{"title":"Early Blues and Jazz Authorship in the Case of the “Livery Stable Blues”","authors":"Katherine M. Leo","doi":"10.1080/17494060.2020.1833071","DOIUrl":"https://doi.org/10.1080/17494060.2020.1833071","url":null,"abstract":"ABSTRACT A 1917 copyright lawsuit over sheet music pursuant to the Original Dixieland Jazz Band’s first commercially successful record revealed challenges in determining legal authorial attribution and ownership for musicians more accustomed to communal creative processes. The case unearthed a network of at least ten eligible musicians, but it was eventually dismissed, such that no musician could be legally recognized as author – a decision that left many wondering: who created “Livery Stable Blues”? By examining extant court documents, this article demonstrates how distributed authorship models can facilitate more acute understandings of creative processes in early blues and jazz.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1833071","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104730","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：