Jazz Perspectives最新文献

英文中文

Jaco: The Film; Jaco: Original Soundtrack 杰克:电影;原声音乐

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2015.1258767

Brian F. Wright

“My name is John Francis Pastorius III, and I’m the greatest bass player in the world.” According to Weather Report co-founder Joe Zawinul, this is how electric bassist Jaco Pastorius introduced hi...

“我叫约翰·弗朗西斯·帕斯托里乌斯三世，我是世界上最伟大的贝斯手。”根据Weather Report联合创始人Joe Zawinul的说法，电贝斯手Jaco Pastorius是这样介绍他的……

引用次数: 1

“Different Placements of Spirit”: The Unity Music of William Parker’s Curtis Mayfield Project “精神的不同位置”:威廉·帕克柯蒂斯·梅菲尔德项目的统一音乐

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2016.1257733

C. Hale

Abstract This article explores the politics of musical process and historiographic revision in bassist William Parker’s project The Inside Songs of Curtis Mayfield. Comprising veteran “downtown” improvisers and poet Amiri Baraka, Parker’s group reimagines Mayfield’s music and message for the twenty-first century, reconstructing form and content anew in the moment of performance. In revisiting Mayfield’s songs, Parker transgresses the genre boundaries of jazz, framing his project instead within a broader lineage of “black music,” a gesture that recalls Baraka’s vision of a revolutionary “Unity Music” from his 1966 essay “The Changing Same (R&B and New Black Music).” By revisiting the 1970s cultural politics of Black Power, uplift, and resistance immanent in Mayfield’s songs, Parker’s project both foregrounds and collapses historical distance, creating a space in which musical and textual interventions signify on the “changing same” of the political landscape. The analyses in this article focus on versions of the song “We The People Who Are Darker Than Blue,” considering three versions recorded by Mayfield (1970, 1971, 1996), as well as two recorded by Parker and his ensemble (2004, 2008). I argue that both Mayfield’s 1996 revision and a 2004 recording by Parker’s ensemble might be understood as varied responses to the collapse of movement politics in the decades since the song’s conception, and, ultimately, I contend that the interpretive practices Parker fosters within his ensemble enact their own form of spiritual and political liberation.

本文探讨了贝斯手威廉·帕克的作品《柯蒂斯·梅菲尔德的内心之歌》中的音乐过程政治和历史修正。帕克的团队由资深的“市区”即兴演奏者和诗人阿米里·巴拉卡组成，他们为21世纪重新构想梅菲尔德的音乐和信息，在表演的瞬间重新构建形式和内容。在重新审视梅菲尔德的歌曲时，帕克超越了爵士乐的类型界限，而是在更广泛的“黑人音乐”谱系中构建了他的项目，这一姿态让人想起了巴拉卡在1966年的文章“改变的相同(R&B和新黑人音乐)”中对革命性“统一音乐”的看法。通过重新审视20世纪70年代梅菲尔德歌曲中蕴含的黑人权力、提升和抵抗的文化政治，帕克的项目既凸显了历史距离，又消解了历史距离，创造了一个音乐和文本干预的空间，在这个空间里，政治景观的“变化相同”意味着什么。本文的分析集中在歌曲“We The People Who Are dark Than Blue”的版本上，考虑了梅菲尔德(Mayfield)录制的三个版本(1970年、1971年、1996年)，以及帕克和他的乐团录制的两个版本(2004年、2008年)。我认为梅菲尔德1996年的修订版和帕克合奏团2004年的录音都可以被理解为对自这首歌构思以来几十年运动政治崩溃的不同回应，而且，最终，我认为帕克在他的合奏团中培养的解释性实践制定了他们自己的精神和政治解放形式。

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引用次数: 0

Recursive Structure and Inversional Pitch-class Relations in Thelonious Monk’s “Ruby, My Dear”: An Analytical Approach to “Monkishness” Thelonious Monk《Ruby, My Dear》中的递归结构和反转音阶关系——对“修道士”的分析

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2016.1253492

Douglas R. Abrams

Abstract The goal of this study is to elucidate the musical meanings behind some of the more unusual passages in one of Thelonious Monk’s best-known compositions, “Ruby, My Dear.” A five-note scale-degree set is identified that appears on the surface level of the A sections and the bridge, and on a higher structural level as the set of all tonalities established by authentic cadence throughout the piece, including the final tonality at the end of the coda. Pitch-class inversion operations are found to govern the internal structure of three particularly unusual passages, and, in two of them, are found to highlight the global dominant in conjunction with the higher-level manifestation of the set described above, helping to prepare the final cadence of the piece. Far from being gratuitously non-conformist, then, Monk’s unusual passages—his “Monkish” moments, as it were—are found to play key roles in the logical unfolding of this piece.

本研究的目的是阐明Thelonious Monk最著名的作品之一“Ruby, My Dear”中一些更不寻常的段落背后的音乐含义。五个音符的音阶度集合出现在A部分和桥的表面水平，在更高的结构水平上，作为整个作品中由真实的节奏建立的所有调性集合，包括结尾的最后调性。音高级倒转操作被发现支配着三个特别不寻常的段落的内部结构，并且在其中两个段落中，被发现突出了与上述更高层次的表现相结合的整体属音，有助于准备作品的最后节奏。因此，蒙克的不同寻常的段落——他的“僧侣”时刻——远不是毫无理由的不墨守成规，而是在这部作品的逻辑展开中发挥了关键作用。

引用次数: 0

Jazz Freedoms: Balkan Rhythm, Race, and World Music 爵士乐自由:巴尔干节奏、种族和世界音乐

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2016.1253493

F. Schenker

Abstract In the late 1980s, a group of young, well-educated white jazz musicians invoked a legacy of jazz freedom in their experiments with Balkan music. Yet they were not embracing a timeless, unchanging concept. Instead, they employed an incipient mode of freedom, one that was deeply informed by a broader political discourse that emerged in the 1980s. This form of freedom, which emphasized individual consumption amidst a world of newly commodified ethnicities and musical traditions, seemed to promise an exciting new direction for musical exploration, yet it also proved starkly incompatible with a still-dominant understanding of freedom shaped during the Cold War era. By examining the emergence of and reception to the small Balkan-influenced jazz scene of the late 1980s and early 1990s, I seek to demonstrate that the last decades of the twentieth century warrant a closer examination of precisely how the public debates about race, innovation, and historiography in jazz were symptomatic of a broader underlying contestation. I suggest that these debates were informed in part by the clash of two competing modes of freedom, one that emerged from new political goals and economic policies of the 1980s, and another that had formed in the crucible of the Civil Rights Movement.

在20世纪80年代末，一群受过良好教育的年轻白人爵士音乐家在他们对巴尔干音乐的实验中引用了爵士自由的遗产。然而，他们并没有接受一个永恒不变的概念。相反，他们采用了一种早期的自由模式，这种模式深受20世纪80年代出现的更广泛的政治话语的影响。这种形式的自由，强调个人消费在新商品化的种族和音乐传统的世界里，似乎承诺了一个令人兴奋的音乐探索的新方向，但它也被证明与冷战时期形成的仍然占主导地位的自由理解完全不相容。通过研究20世纪80年代末和90年代初受巴尔干影响的小型爵士乐的出现和接受情况，我试图证明，20世纪最后几十年需要更仔细地研究关于爵士乐中种族、创新和历史的公众辩论是如何成为更广泛的潜在争论的症状的。我认为，这些辩论在一定程度上是由两种相互竞争的自由模式的冲突所引起的，一种是在20世纪80年代的新政治目标和经济政策中出现的，另一种是在民权运动的考验中形成的。

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引用次数: 1

About the Contributors 关于投稿人

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2015.1259688

引用次数: 0

Letter from the Editor 编辑来信

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2015.1259672

Ken Prouty

As we approach the start of 2017, the jazz world is about to celebrate an important milestone. I refer, of course, to the 100th anniversary of the “first jazz recording” made by the Original Dixieland Jass Band (ODJB) in February of that year. Such an event is sure to be marked by performances, recordings, essays, lectures, and the like. But as most jazz historians understand, the claim of the ODJB session as the “first” example of recorded jazz is open to debate. During the years following the release of this record, spirited discussions were held in the popular press about just what jazz was, what it meant and what the future held for it. Debating the origins and nature of jazz is thus nothing new, and Jazz Perspectives is pleased to continue to be an important venue for this ongoing discourse. In this issue of Jazz Perspectives, we present four original, diverse articles which draw from very different topics and approaches to the study of jazz. Fritz Schenker’s essay addresses the topic of Balkan influence in jazz in the late Cold War era. Schenker situates jazz’s “Balkan-ness,” as heard in the music of artists such as Dave Douglas, as an expression a particular approach to the incorporation of “world music” that was heavily influenced by an evolving approach to Third Stream music, and which paralleled shifts in global consumer culture during this period. Balkan influenced jazz, Schenker argues, provided many white musicians with a source of racial and ethnic authenticity that served as something of an alternative to African American cultural sources. Our second article, written by Doug Abrams, presents a highly detailed analysis of the “Monkishness” of Thelonious Monk’s compositions, focusing on the classic composition “Ruby, My Dear.” Abrams suggests that elements of Monk’s music which have often been characterized as “weird” or eccentric are, in fact, constructed through a highly logical process. With a focus on the analysis of pitch class sets, Abrams asks us to reconsider common conceptions about Monk’s music, and provides a rich theoretical framework with which to examine deep structures in jazz composition. Casey Hale, in his study of interpretations of Curtis Mayfield’s songs, similarly provides a deep, penetrating look at particular musical moments. Hale focuses on the work of bassist William Parker and his recording The Inside Songs of Curtis Mayfield, examining Parker’s collaborations with Amiri Baraka in particular. Hale’s close reading of the music and texts of this project reveals the ways in which the artists sought to link past and present discourses of racial identity and unity through Mayfield’s music. In the final article in this issue, Andrew Sanchirico examines the intellectual heritage of the neo-classicist movement. Sanchirico traces the lineage of what he refers to as Jazz Perspectives, 2015 Vol. 9, No. 3, 215–216, http://dx.doi.org/10.1080/17494060.2015.1259672

随着2017年的临近，爵士乐界即将迎来一个重要的里程碑。当然，我指的是当年2月由原始迪克西兰Jass乐队(Original Dixieland Jass Band, ODJB)录制的“第一张爵士唱片”100周年纪念。这样的活动肯定会以表演、录音、论文、讲座等形式出现。但是正如大多数爵士乐历史学家所理解的那样，声称ODJB会议是录制爵士乐的“第一个”例子是有争议的。在这张唱片发行后的几年里，大众媒体就爵士是什么、它的意义以及它的未来展开了热烈的讨论。因此，关于爵士乐的起源和本质的辩论并不是什么新鲜事，爵士视角很高兴继续成为这一正在进行的讨论的重要场所。在这一期的《爵士观点》中，我们将呈现四篇原创的、不同的文章，这些文章来自非常不同的主题和研究爵士乐的方法。弗里茨·申克(Fritz Schenker)的文章探讨了冷战后期巴尔干对爵士乐的影响。Schenker认为爵士乐的“巴尔干性”，就像在戴夫·道格拉斯等艺术家的音乐中听到的那样，是一种表达，一种结合“世界音乐”的特殊方法，这种方法受到第三流音乐发展方法的严重影响，并且与此期间全球消费文化的转变相对应。申克认为，受巴尔干影响的爵士乐为许多白人音乐家提供了一种种族和民族真实性的来源，这种来源在某种程度上替代了非裔美国人的文化来源。我们的第二篇文章由Doug Abrams撰写，对Thelonious Monk作品的“僧侣性”进行了非常详细的分析，重点是经典作品“Ruby, My Dear”。艾布拉姆斯认为，蒙克的音乐元素通常被描述为“怪异”或古怪，事实上，是通过一个高度逻辑的过程构建的。艾布拉姆斯着重分析了音高等级集合，要求我们重新考虑关于蒙克音乐的共同概念，并提供了一个丰富的理论框架来研究爵士作品的深层结构。凯西·黑尔在研究柯蒂斯·梅菲尔德歌曲的解读时，同样对特定的音乐时刻提供了深刻而深刻的见解。黑尔专注于贝斯手威廉·帕克的作品和他的唱片《柯蒂斯·梅菲尔德的内心之歌》，特别研究了帕克与阿米里·巴拉卡的合作。黑尔仔细阅读了这个项目的音乐和文本，揭示了艺术家们试图通过梅菲尔德的音乐将过去和现在的种族身份和统一话语联系起来的方式。在本期的最后一篇文章中，安德鲁·桑奇里科考察了新古典主义运动的知识遗产。Sanchirico追溯了他所谓的爵士乐视角的谱系，2015年第9卷，第3期，215-216,http://dx.doi.org/10.1080/17494060.2015.1259672

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引用次数: 0

The Culturally Conservative View of Jazz in America: A Historical and Critical Analysis 美国爵士乐的文化保守观:历史与批判分析

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-09-02 DOI: 10.1080/17494060.2016.1257732

Andrew Sanchirico

Abstract Jazz in America, once identified with social rebellion and political protest, has since the 1980s become closely associated with cultural conservatism, a belief system that places high value on traditionalism. Jazz, from this perspective, embodies traditional American values and norms, particularly those related to the nation’s democratic principles. Those who perceive jazz in this manner commonly depict the music as a model of democracy that serves as a guide to individual behavior. This essay has two basic objectives: the first is to trace the historical development of the culturally conservative view of jazz; the second is to critically analyze this theoretical perspective. The essay’s goal is to combine the historical and critical analyses into a comprehensive examination of the culturally conservative view of jazz in America as it has evolved since its initial conceptualization by Ralph Ellison.

爵士乐在美国一度被认为是社会反叛和政治抗议，自20世纪80年代以来，它与文化保守主义密切相关，这是一种高度重视传统主义的信仰体系。从这个角度来看，爵士乐体现了美国传统的价值观和规范，特别是那些与国家民主原则有关的价值观和规范。那些以这种方式看待爵士乐的人通常把这种音乐描绘成民主的典范，作为个人行为的指南。本文有两个基本目的:一是追溯爵士乐文化保守观的历史发展;二是对这一理论视角进行批判性分析。这篇文章的目标是将历史和批判性的分析结合起来，对美国爵士乐的文化保守观点进行全面的考察，因为它自拉尔夫·埃里森最初的概念化以来一直在发展。

引用次数: 5

Bags Still Grooves: Performance Strategies in Milt Jackson's Improvisations 袋仍然凹槽:在米尔特·杰克逊的即兴表演策略

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1202306

A. Gagatsis

Abstract Following a short biographical commentary on Milt Jackson, this essay highlights certain performance strategies that typified the vibist's spirited improvisations. Some of these, it is asserted result in embodied, automated skills in jazz performance. In examining Jackson's music, the analytical discussion is grounded in a number of recordings, focusing on his efforts outside of the context of his work with the Modern Jazz Quartet. While it is not intended to fully answer all of the questions raised, this close study of musical examples on the one hand, and key writings of a number of scholars on the other, allows to expand upon previous research on a number of levels. Notwithstanding the fact that jazz research has been conducted vigorously since the end of the twentieth century, there seems to be a paucity of information on Jackson, which underscores the motivation for and the importance of this discussion.

摘要:在对米尔特·杰克逊的简短传记评论之后，本文重点介绍了一些典型的维维主义者精神上的即兴表演策略。其中的一些，被认为是爵士乐表演中体现的自动化技能的结果。在研究杰克逊的音乐时，分析性的讨论以一些录音为基础，集中在他与现代爵士四重奏合作的背景之外的努力。虽然它并不打算完全回答所提出的所有问题，但一方面对音乐例子的密切研究，以及许多学者的关键著作，允许在许多层面上扩展先前的研究。尽管自20世纪末以来，爵士乐研究一直在蓬勃开展，但关于杰克逊的信息似乎很少，这强调了讨论的动机和重要性。

引用次数: 1

About the Contributors 关于投稿人

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-05-04 DOI: 10.1080/17494060.2015.1203520

引用次数: 0

Listen to This: Miles Davis and Bitches Brew 听听这个:Miles Davis和Bitches Brew

Q3 Arts and Humanities

Jazz Perspectives

Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1202899

J. McCool

引用次数: 1

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