In this article I offer eight short meditations (or perhaps provocations) on the theme of musical signification. They each cover a different theme—composition, rehearsal, sung and spoken words, writing about music, improvisation, cultural politics, technology, and listening to music—with the aim of evoking a rich and multidimensional sense of musical meaning. Their form and style are influenced by my reading of the diffractive philosophy of Karen Barad and are meant to invite a creative reading of the eight sections through one another.
{"title":"Eight meditations on musical signification","authors":"Lee Griffiths","doi":"10.1558/jazz.25947","DOIUrl":"https://doi.org/10.1558/jazz.25947","url":null,"abstract":"In this article I offer eight short meditations (or perhaps provocations) on the theme of musical signification. They each cover a different theme—composition, rehearsal, sung and spoken words, writing about music, improvisation, cultural politics, technology, and listening to music—with the aim of evoking a rich and multidimensional sense of musical meaning. Their form and style are influenced by my reading of the diffractive philosophy of Karen Barad and are meant to invite a creative reading of the eight sections through one another.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67538797","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}
Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker. New York: HarperCollins, 2013. 384 pp. ISBN 978-0-06-200559-5 (hbk). $37.86.
{"title":"Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker","authors":"Andrew Scott","doi":"10.1558/jazz.26119","DOIUrl":"https://doi.org/10.1558/jazz.26119","url":null,"abstract":"Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker. New York: HarperCollins, 2013. 384 pp. ISBN 978-0-06-200559-5 (hbk). $37.86.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47086752","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 state-sponsored jazz diplomacy tours of the 1950s and 1960s have generally been well-documented, but Benny Goodman’s 1956 tour of Southeast Asia remains relatively under-researched. Considering the United States’ heavy military and surveillance interests in the region at the time, Goodman’s tour merits further consideration as a key element of diplomacy during the early stages of the conflict in Vietnam. In particular, Goodman’s tour, while effective, highlights American racial hypocrisy at the beginning of the Civil Rights movement in the mid-1950s. Despite this, Goodman’s efforts contributed significantly to US-Thai relations, which ultimately became one of the most important alliances of the Vietnam War.
{"title":"Racial and historical considerations of Benny Goodman’s 1956 state-sponsored tour of Southeast Asia","authors":"Denin Slage-Koch","doi":"10.1558/jazz.21511","DOIUrl":"https://doi.org/10.1558/jazz.21511","url":null,"abstract":"The state-sponsored jazz diplomacy tours of the 1950s and 1960s have generally been well-documented, but Benny Goodman’s 1956 tour of Southeast Asia remains relatively under-researched. Considering the United States’ heavy military and surveillance interests in the region at the time, Goodman’s tour merits further consideration as a key element of diplomacy during the early stages of the conflict in Vietnam. In particular, Goodman’s tour, while effective, highlights American racial hypocrisy at the beginning of the Civil Rights movement in the mid-1950s. Despite this, Goodman’s efforts contributed significantly to US-Thai relations, which ultimately became one of the most important alliances of the Vietnam War.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42815282","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}
In the history of documenting music, Roger Tilton’s film Jazz Dance (1954) is an outstanding experimental approach to early direct cinema. By using a novel, genuinely audio-visual, non-staged, multi-angled approach to recording, the film opened up new ways to capture the vibes of the filmed event and thus turn jazz into film. This article seeks to remedy the lack of academic engagement with Jazz Dance by outlining its status as a seminal example for early direct cinema as well as documenting jazz and jazz dance. To that end, the means and techniques chosen by Tilton and his collaborators to convey the impression and vibe of jazz as well as the aesthetic approach to the combination of jazz dance and music in the film will be analysed. Furthermore, Jazz Dance will be discussed and positioned within in the larger field of documentary films that bring together jazz music and dance.
{"title":"Jazz as film","authors":"C. Lund, Holger Lund","doi":"10.1558/jazz.20128","DOIUrl":"https://doi.org/10.1558/jazz.20128","url":null,"abstract":"In the history of documenting music, Roger Tilton’s film Jazz Dance (1954) is an outstanding experimental approach to early direct cinema. By using a novel, genuinely audio-visual, non-staged, multi-angled approach to recording, the film opened up new ways to capture the vibes of the filmed event and thus turn jazz into film. This article seeks to remedy the lack of academic engagement with Jazz Dance by outlining its status as a seminal example for early direct cinema as well as documenting jazz and jazz dance. To that end, the means and techniques chosen by Tilton and his collaborators to convey the impression and vibe of jazz as well as the aesthetic approach to the combination of jazz dance and music in the film will be analysed. Furthermore, Jazz Dance will be discussed and positioned within in the larger field of documentary films that bring together jazz music and dance.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"148 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41280258","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}
Offering access to low-cost authoritative literature, the Jazz Book Club was a successful and influential venture, publishing 66 subscription titles and 11 occasional volumes between 1956 and 1967. The Club was created to meet the demand for information by the rapidly growing post-war jazz audience in Britain. Extending the intellectual discourse of the 1930s, an educated, socially diverse generation coming to jazz in the 1940s and 1950s was serious about the music and earnest in their pursuit of information. Although the new fans were often fiercely partisan in their preferences, the Club believed its book choices would appeal broadly across the emerging jazz community. Surprisingly, the Jazz Book Club has been little researched. Using previously unexamined archival records and Jazz Book Club publications, contemporary journals and personal recollections alongside recent scholarship, this article provides the first full account of a small but important moment in British jazz history. Drawing on Karl Mannheim’s epistemology of generations, I argue that the Jazz Book Club was created to meet the demands of a young post-war generation for whom jazz assumed an unexampled measure of cultural saliency. The Jazz Book Club’s moment passed as a later generation turned away from jazz after the early 1960s.
{"title":"‘A superb library at bargain cost’","authors":"A. Ainsworth","doi":"10.1558/jazz.24716","DOIUrl":"https://doi.org/10.1558/jazz.24716","url":null,"abstract":"Offering access to low-cost authoritative literature, the Jazz Book Club was a successful and influential venture, publishing 66 subscription titles and 11 occasional volumes between 1956 and 1967. The Club was created to meet the demand for information by the rapidly growing post-war jazz audience in Britain. Extending the intellectual discourse of the 1930s, an educated, socially diverse generation coming to jazz in the 1940s and 1950s was serious about the music and earnest in their pursuit of information. Although the new fans were often fiercely partisan in their preferences, the Club believed its book choices would appeal broadly across the emerging jazz community. Surprisingly, the Jazz Book Club has been little researched. Using previously unexamined archival records and Jazz Book Club publications, contemporary journals and personal recollections alongside recent scholarship, this article provides the first full account of a small but important moment in British jazz history. Drawing on Karl Mannheim’s epistemology of generations, I argue that the Jazz Book Club was created to meet the demands of a young post-war generation for whom jazz assumed an unexampled measure of cultural saliency. The Jazz Book Club’s moment passed as a later generation turned away from jazz after the early 1960s.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48723311","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 editorial board of Jazz Research Journal collectively authored this statement over a number of months in 2021 and 2022. We consider it a necessary and long overdue intervention into the field of jazz studies. The statement describes the jazz studies we want to see.
{"title":"Manifesto","authors":"Jazz Research Journal Editorial Board","doi":"10.1558/jazz.25398","DOIUrl":"https://doi.org/10.1558/jazz.25398","url":null,"abstract":"The editorial board of Jazz Research Journal collectively authored this statement over a number of months in 2021 and 2022. We consider it a necessary and long overdue intervention into the field of jazz studies. The statement describes the jazz studies we want to see.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42579391","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 : 2022-12-20DOI: 10.4324/9781315702254-158
Maurice Windleburn
This concept poem ekphrastically manifests Ornette Coleman’s landmark album Free Jazz: A Collective Improvisation. Separated into two columns, the piece features the work of two quartets of poets, reflecting Coleman’s own separation of his double quartet ensemble into left and right recording channels. The poets Bob Kaufman, Jayne Cortez, Cecil Taylor and Lawrence Ferlinghetti are the quartet in the left column; Amiri Baraka, Langston Hughes, M. NourbeSe Philip and Boris Vian are the quartet in the right. The work of these poets has been scrambled and interwoven in the first and third-from-last stanzas, mimicking the two polymelodic interludes found in Coleman’s album. The remaining stanzas either combine lines from a quartet of poets or are entirely from the work of a single poet, who ‘solos’ against the quartet in the adjacent column (again, mimicking the general structure of Coleman’s album).
这首概念诗生动地体现了Ornette Coleman的标志性专辑《Free Jazz: A Collective Improvisation》。该作品分为两列，以两个诗人四重奏的作品为特色，反映了科尔曼自己将他的双四重奏合奏分为左右两个录音通道。诗人鲍勃·考夫曼、杰恩·科尔特斯、塞西尔·泰勒和劳伦斯·费林盖蒂是左栏的四重奏;阿米里·巴拉卡、兰斯顿·休斯、诺贝斯·菲利普和鲍里斯·维安是右边的四重奏。这些诗人的作品在第一节和倒数第三节中被打乱和交织在一起，模仿科尔曼专辑中的两个多旋律插曲。其余的诗节要么是由四重奏诗人的诗句组合而成，要么是完全出自一位诗人的作品，这位诗人在相邻的一栏中“独唱”，反对四重奏(再次模仿科尔曼专辑的总体结构)。
{"title":"Free jazz","authors":"Maurice Windleburn","doi":"10.4324/9781315702254-158","DOIUrl":"https://doi.org/10.4324/9781315702254-158","url":null,"abstract":"This concept poem ekphrastically manifests Ornette Coleman’s landmark album Free Jazz: A Collective Improvisation. Separated into two columns, the piece features the work of two quartets of poets, reflecting Coleman’s own separation of his double quartet ensemble into left and right recording channels. The poets Bob Kaufman, Jayne Cortez, Cecil Taylor and Lawrence Ferlinghetti are the quartet in the left column; Amiri Baraka, Langston Hughes, M. NourbeSe Philip and Boris Vian are the quartet in the right. The work of these poets has been scrambled and interwoven in the first and third-from-last stanzas, mimicking the two polymelodic interludes found in Coleman’s album. The remaining stanzas either combine lines from a quartet of poets or are entirely from the work of a single poet, who ‘solos’ against the quartet in the adjacent column (again, mimicking the general structure of Coleman’s album).","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45782143","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 weaves Nina Simone’s 1976 concert and Lisa Simone’s 2016 concert at the Montreux Jazz Festival with the author’s life experiences. Despite multiple shifts between historical period and person, attention to the dangers of racism and the hope for liberation persist throughout the festival experience.
{"title":"two Simones at Montreux","authors":"Rashida K. Braggs","doi":"10.1558/jazz.20551","DOIUrl":"https://doi.org/10.1558/jazz.20551","url":null,"abstract":"This article weaves Nina Simone’s 1976 concert and Lisa Simone’s 2016 concert at the Montreux Jazz Festival with the author’s life experiences. Despite multiple shifts between historical period and person, attention to the dangers of racism and the hope for liberation persist throughout the festival experience.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43048839","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 story can be read in three ways. The Story is a fictional day in the life of a female jazz guitarist. The Endnotes tell another story, a referenced timeline of discrimination and sexism against female and minority musicians. You could read The Story by itself. You could read The Endnotes by themselves—taken together, they form a prose story of some of the barriers faced by musicians outside the cishet male narrative. Thirdly, you could refer to each endnote as it appears in the story. This method will be a disjointed reading experience, but perhaps best represents the doublethink necessary from people outside the dominant demography in today’s society.
{"title":"Without making a song and dance about it…","authors":"K. Williams","doi":"10.1558/jazz.22819","DOIUrl":"https://doi.org/10.1558/jazz.22819","url":null,"abstract":"This story can be read in three ways. The Story is a fictional day in the life of a female jazz guitarist. The Endnotes tell another story, a referenced timeline of discrimination and sexism against female and minority musicians. You could read The Story by itself. You could read The Endnotes by themselves—taken together, they form a prose story of some of the barriers faced by musicians outside the cishet male narrative. Thirdly, you could refer to each endnote as it appears in the story. This method will be a disjointed reading experience, but perhaps best represents the doublethink necessary from people outside the dominant demography in today’s society.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41656150","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":"Editorial","authors":"Liam Maloney, Nicolas Pillai","doi":"10.1558/jazz.24677","DOIUrl":"https://doi.org/10.1558/jazz.24677","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42559436","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：