Pub Date : 2022-08-23DOI: 10.1080/03007766.2022.2114155
Jan Herbst, M. Mynett
ABSTRACT Metal music studies defines “heaviness” as the genre’s sonic signature but has rarely explored the sonics or the related discourse. This study analyzes message boards to determine how music producers and musicians use the “heavy” metaphor in their discussions. Practitioners’ strategies employed to achieve heaviness are scrutinized to learn about what considerations influence their decisions. The findings suggest that while heaviness is based on a core set of musical features, it is open to appropriation, modification, and development. Heaviness has become a suitable impetus for the genre’s evolution and iconically represents what metal music stands for to its community.
{"title":"What is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers","authors":"Jan Herbst, M. Mynett","doi":"10.1080/03007766.2022.2114155","DOIUrl":"https://doi.org/10.1080/03007766.2022.2114155","url":null,"abstract":"ABSTRACT Metal music studies defines “heaviness” as the genre’s sonic signature but has rarely explored the sonics or the related discourse. This study analyzes message boards to determine how music producers and musicians use the “heavy” metaphor in their discussions. Practitioners’ strategies employed to achieve heaviness are scrutinized to learn about what considerations influence their decisions. The findings suggest that while heaviness is based on a core set of musical features, it is open to appropriation, modification, and development. Heaviness has become a suitable impetus for the genre’s evolution and iconically represents what metal music stands for to its community.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"633 - 653"},"PeriodicalIF":0.5,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49090550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-21DOI: 10.1080/03007766.2022.2115087
Thomas M. Kitts
to Dylan’s “new sense of self” were picking up a cross a fan threw on stage in Tucson, Arizona, in November 1978 and his involvement with the Vineyard Christian Fellowship (85). Finally, the third major event McCarron notes was Dylan’s 1987 recommitment to his songwriting and touring. After turning away from the Vineyard Christian Fellowship and his gospel-inspired songs, McCarron notes that Dylan expressed the dissatisfaction and alienation he felt with his life and career in interviews for a BBC documentary called Getting to Dylan. Subsequently, Dylan underwent a life-changing experience while in rehearsals with the Grateful Dead in San Rafael, California. When Dylan left the rehearsals frustrated with their direction, he stopped in a bar where he heard live jazz playing. McCarron quotes several interviews and Dylan’s description in Chronicles of the transitional event that restores his vitality and purpose and further establishes the pattern in his destiny script. Reminding him of Billy Eckstine, a bandleader he heard in his youth, the lead singer touched Dylan in a profound, otherworldly way. McCarron explains, “Awakened by the old jazz singer’s example, he returned to the Dead’s rehearsal hall ready to put what he learned to immediate work” (116). Dylan’s renewed sense of himself and destiny allowed him to successfully continue his scheduled tour with Tom Petty. Chapters five and six contextualize McCarron’s argument, explaining how psychobiography demonstrates the fluidity of the redemptive script Dylan returned to throughout his life and career when he felt threatened by mortality, death, and destruction created by the anxieties of his Atomic Age childhood. In each of these moments, McCarron argues, Dylan follows the same script and returns to the music he listened to in his formative years as the source of his redemption and destiny scripts. Thus, though fluid, the script creates a clear pattern and allows observers to predict how Dylan will respond to these anxieties. Ultimately, Light Come Shining: The Transformations of Bob Dylan adds an interesting approach to Dylan’s life, career, and biography. It provides new insight into some of the pivotal events in his life and the continuity of his responses to them. McCarron’s text is comprehensive, well researched, yet accessible, making it a valuable addition to any Dylanologist’s library.
1978年11月，在亚利桑那州图森市，迪伦捡起了一个歌迷扔在舞台上的十字架，并加入了葡萄园基督教团契(1985年)。最后，麦卡伦提到的第三件大事是迪伦在1987年重新投入到歌曲创作和巡演中。麦卡伦指出，在离开葡萄园基督教团契和他的福音歌曲之后，迪伦在接受BBC纪录片《走近迪伦》(Getting to Dylan)采访时表达了他对生活和事业的不满和疏远。随后，迪伦在加州圣拉斐尔与感恩而死乐队排练时经历了一次改变人生的经历。当迪伦对他们的方向感到沮丧时，他在一家酒吧停了下来，在那里他听到了现场爵士乐的演奏。麦卡伦在《过渡事件编年史》中引用了几次采访和迪伦的描述，恢复了他的活力和目标，进一步确立了他命运剧本的模式。这位主唱让迪伦想起了年轻时听过的乐队指挥比利·埃克斯廷(Billy Eckstine)，以一种深刻的、超凡脱俗的方式打动了迪伦。麦卡伦解释说:“被这位老爵士歌手的榜样唤醒，他回到了亡者乐队的排练厅，准备把他学到的东西立即付诸实践”(116)。迪伦对自己和命运的重新认识使他成功地继续了与汤姆佩蒂的预定巡演。第五章和第六章将麦卡伦的观点置于背景中，解释了当迪伦在他的生活和事业中感到死亡、死亡和毁灭的威胁时，心理传记如何展示了救赎剧本的流动性，这是他在原子时代童年的焦虑所造成的。麦卡伦认为，在每一个这样的时刻，迪伦都遵循着同样的剧本，回到他成长时期所听的音乐中，作为他救赎和命运剧本的来源。因此，尽管剧本是流畅的，但它创造了一个清晰的模式，让观察者能够预测迪伦将如何应对这些焦虑。最后，《光来闪耀:鲍勃·迪伦的转变》为迪伦的生活、事业和传记增添了有趣的视角。它提供了对他生活中一些关键事件的新见解，以及他对这些事件的反应的连续性。麦卡伦的文本内容全面，研究充分，但易于理解，使其成为任何迪伦学家图书馆的宝贵补充。
{"title":"Distillation of Sound: Dub and the Creation of Culture","authors":"Thomas M. Kitts","doi":"10.1080/03007766.2022.2115087","DOIUrl":"https://doi.org/10.1080/03007766.2022.2115087","url":null,"abstract":"to Dylan’s “new sense of self” were picking up a cross a fan threw on stage in Tucson, Arizona, in November 1978 and his involvement with the Vineyard Christian Fellowship (85). Finally, the third major event McCarron notes was Dylan’s 1987 recommitment to his songwriting and touring. After turning away from the Vineyard Christian Fellowship and his gospel-inspired songs, McCarron notes that Dylan expressed the dissatisfaction and alienation he felt with his life and career in interviews for a BBC documentary called Getting to Dylan. Subsequently, Dylan underwent a life-changing experience while in rehearsals with the Grateful Dead in San Rafael, California. When Dylan left the rehearsals frustrated with their direction, he stopped in a bar where he heard live jazz playing. McCarron quotes several interviews and Dylan’s description in Chronicles of the transitional event that restores his vitality and purpose and further establishes the pattern in his destiny script. Reminding him of Billy Eckstine, a bandleader he heard in his youth, the lead singer touched Dylan in a profound, otherworldly way. McCarron explains, “Awakened by the old jazz singer’s example, he returned to the Dead’s rehearsal hall ready to put what he learned to immediate work” (116). Dylan’s renewed sense of himself and destiny allowed him to successfully continue his scheduled tour with Tom Petty. Chapters five and six contextualize McCarron’s argument, explaining how psychobiography demonstrates the fluidity of the redemptive script Dylan returned to throughout his life and career when he felt threatened by mortality, death, and destruction created by the anxieties of his Atomic Age childhood. In each of these moments, McCarron argues, Dylan follows the same script and returns to the music he listened to in his formative years as the source of his redemption and destiny scripts. Thus, though fluid, the script creates a clear pattern and allows observers to predict how Dylan will respond to these anxieties. Ultimately, Light Come Shining: The Transformations of Bob Dylan adds an interesting approach to Dylan’s life, career, and biography. It provides new insight into some of the pivotal events in his life and the continuity of his responses to them. McCarron’s text is comprehensive, well researched, yet accessible, making it a valuable addition to any Dylanologist’s library.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"89 - 91"},"PeriodicalIF":0.5,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48218676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-21DOI: 10.1080/03007766.2022.2115105
Erin C. Callahan
that record albums were conceived with attention to the sequencing of tracks and with the breaks between two, sometimes four, sides of music in mind. The “potentially rich subject” of sequencing, Starr avers, “might seem a distant anachronism” (89) in the age of Spotify and YouTube. There’s little doubt, however, that everyone interested in Dylan will appreciate the “integrated, patterned listening experiences” (92) found in well-sequenced vinyl. Starr excels on this topic, extending Dylan’s skill at arrangement into compact discs as well, using “Murder Most Foul,” the finale of Rough and Rowdy Ways, to discuss Dylan’s reason for including it on a separate disc despite available space on the first disc. The book’s penultimate chapter offers thoughts on the startling changes between the studio and the multiple live versions of five Dylan songs. Starr weaves earlier themes into these readings (Dylan’s form, vocal style, instrumentation, and accompaniment, and the author’s own incompleteness of analysis), relishing the “delight, surprise, confusion, head-shaking, and disbelief” (110) Dylan has evoked on stage for more than half a century. Concluding evidence in the last chapter of Dylan’s “exceptional, and remarkably unified, creations” (111) is mined in “Visions of Johanna,” “Dear Landlord,” “Life Is Hard,” and “This Dream of You.” Listening to Bob Dylan, as soothing in tone as it is learned in detail, teaches us that Bob Dylan’s artistry is much more a matter of synchrony than we, quick to credit lyrics as Dylan’s forte, may realize. Vocal and instrumental performance, structure, arrangement – these items, and the way Dylan combines them, are explicated in a user-friendly manner that will appeal to a wide audience. For those not much past the Greatest Hits and/or more likely to download their Dylan than to mess with an LP or CD, there is much to gain from Starr’s lessons on music, sound, and delivery. For those deep into the scholarship from Shelton to Heylin and the oeuvre from Bob Dylan to the Bootleg Series, there is more than enough content to contemplate. And for those in-between, there awaits a surfeit of pleasure in learning about Bob Dylan’s supreme songwriting, performing, and composing gifts as illuminated by Larry Starr in Listening to Bob Dylan.
{"title":"Light Come Shining: The Transformations of Bob Dylan","authors":"Erin C. Callahan","doi":"10.1080/03007766.2022.2115105","DOIUrl":"https://doi.org/10.1080/03007766.2022.2115105","url":null,"abstract":"that record albums were conceived with attention to the sequencing of tracks and with the breaks between two, sometimes four, sides of music in mind. The “potentially rich subject” of sequencing, Starr avers, “might seem a distant anachronism” (89) in the age of Spotify and YouTube. There’s little doubt, however, that everyone interested in Dylan will appreciate the “integrated, patterned listening experiences” (92) found in well-sequenced vinyl. Starr excels on this topic, extending Dylan’s skill at arrangement into compact discs as well, using “Murder Most Foul,” the finale of Rough and Rowdy Ways, to discuss Dylan’s reason for including it on a separate disc despite available space on the first disc. The book’s penultimate chapter offers thoughts on the startling changes between the studio and the multiple live versions of five Dylan songs. Starr weaves earlier themes into these readings (Dylan’s form, vocal style, instrumentation, and accompaniment, and the author’s own incompleteness of analysis), relishing the “delight, surprise, confusion, head-shaking, and disbelief” (110) Dylan has evoked on stage for more than half a century. Concluding evidence in the last chapter of Dylan’s “exceptional, and remarkably unified, creations” (111) is mined in “Visions of Johanna,” “Dear Landlord,” “Life Is Hard,” and “This Dream of You.” Listening to Bob Dylan, as soothing in tone as it is learned in detail, teaches us that Bob Dylan’s artistry is much more a matter of synchrony than we, quick to credit lyrics as Dylan’s forte, may realize. Vocal and instrumental performance, structure, arrangement – these items, and the way Dylan combines them, are explicated in a user-friendly manner that will appeal to a wide audience. For those not much past the Greatest Hits and/or more likely to download their Dylan than to mess with an LP or CD, there is much to gain from Starr’s lessons on music, sound, and delivery. For those deep into the scholarship from Shelton to Heylin and the oeuvre from Bob Dylan to the Bootleg Series, there is more than enough content to contemplate. And for those in-between, there awaits a surfeit of pleasure in learning about Bob Dylan’s supreme songwriting, performing, and composing gifts as illuminated by Larry Starr in Listening to Bob Dylan.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"87 - 89"},"PeriodicalIF":0.5,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47949393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-21DOI: 10.1080/03007766.2022.2111123
Samuel Horlor
ABSTRACT This article reports on perceptions of audiencing – the active roles of witnessing and validating involving physical expressivity – raised by a selection of foreign musicians in relation to their experiences of performing rock and related genres in China. It highlights the connections between embodied dimensions of face-to-face musical experiences and the lenses of national difference and sameness bound up in debates over the colonial implications of “intercultural” musical encounters.
{"title":"Audiencing in China: Foreign Rock Musicians’ Perceptions of Difference and Sameness","authors":"Samuel Horlor","doi":"10.1080/03007766.2022.2111123","DOIUrl":"https://doi.org/10.1080/03007766.2022.2111123","url":null,"abstract":"ABSTRACT This article reports on perceptions of audiencing – the active roles of witnessing and validating involving physical expressivity – raised by a selection of foreign musicians in relation to their experiences of performing rock and related genres in China. It highlights the connections between embodied dimensions of face-to-face musical experiences and the lenses of national difference and sameness bound up in debates over the colonial implications of “intercultural” musical encounters.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"584 - 599"},"PeriodicalIF":0.5,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48298476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-13DOI: 10.1080/03007766.2022.2113009
Steven L. Hamelman
{"title":"Listening to Bob Dylan","authors":"Steven L. Hamelman","doi":"10.1080/03007766.2022.2113009","DOIUrl":"https://doi.org/10.1080/03007766.2022.2113009","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"85 - 87"},"PeriodicalIF":0.5,"publicationDate":"2022-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42961578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-12DOI: 10.1080/03007766.2022.2111513
David Crider
ABSTRACT The recording and radio industries have faced a reckoning over their lack of gender equity. While Generation Z is poised to become the dominant music audience, research on the wants and needs of young women listeners is lacking. This study used focus groups to investigate how Generation-Z women feel about today’s music and audio media options. Specifically, their musical tastes are more eclectic, but they find little appeal in current popular music, and they see widespread disrespect for women in music. Participants also recognize that current trends of male-dominated radio presentation are likely to turn potential women listeners away.
{"title":"Listening, but Not Being Heard: Young Women, Popular Music, Streaming, and Radio","authors":"David Crider","doi":"10.1080/03007766.2022.2111513","DOIUrl":"https://doi.org/10.1080/03007766.2022.2111513","url":null,"abstract":"ABSTRACT The recording and radio industries have faced a reckoning over their lack of gender equity. While Generation Z is poised to become the dominant music audience, research on the wants and needs of young women listeners is lacking. This study used focus groups to investigate how Generation-Z women feel about today’s music and audio media options. Specifically, their musical tastes are more eclectic, but they find little appeal in current popular music, and they see widespread disrespect for women in music. Participants also recognize that current trends of male-dominated radio presentation are likely to turn potential women listeners away.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"600 - 616"},"PeriodicalIF":0.5,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48895622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/03007766.2022.2123469
J. Whiteoak
ABSTRACT This article proposes that the framing of jazz diaspora in relation to Australia must embrace significant antecedents of jazz-related performance and culture in Australia, including blackface and African-American minstrel show music, improvisatory popular and art music practices and various subgenres of ragtime. It argues that the spirit of “jazz” as a vehicle for extroverted self-expression and identification with American popular modernity and youthful rebellion through music, dance, and fashion was already present in the Antipodes from around 1912 to the final year of World War I, when a “ragging” and “jazzing” novelty act called Australia’s First Jazz Band appeared in vaudeville.
{"title":"Critiquing the “What Is Jazz” Puzzle in a Diasporic Setting: “Jazz-Related” Performance and Patronage in Australia before “Jazz”","authors":"J. Whiteoak","doi":"10.1080/03007766.2022.2123469","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123469","url":null,"abstract":"ABSTRACT This article proposes that the framing of jazz diaspora in relation to Australia must embrace significant antecedents of jazz-related performance and culture in Australia, including blackface and African-American minstrel show music, improvisatory popular and art music practices and various subgenres of ragtime. It argues that the spirit of “jazz” as a vehicle for extroverted self-expression and identification with American popular modernity and youthful rebellion through music, dance, and fashion was already present in the Antipodes from around 1912 to the final year of World War I, when a “ragging” and “jazzing” novelty act called Australia’s First Jazz Band appeared in vaudeville.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"377 - 404"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41527558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT In this article, we present a case study of Mungal Patasar and his band, Pantar to explore syncretism between jazz and local music traditions in Trinidad and Tobago. We discuss the nuances emerging from the interactions between East Indian and African music traditions as we delineate the ways jazz diaspora is performed within this context. The overall findings of this study demonstrate that a perspective of Trinidad and Tobago’s national identity through ethnicity is re-articulated in Patasar’s work, not from a purist approach, but where the foundations of African and Indian ethnic identities remain intact.
{"title":"An Exploration of the East Indian and African Music Traditions in Trinidad and Tobago: The Case of Mungal Patasar and Pantar","authors":"Jill-Ann Walters-Morris, Clarence Morris, Rachel-Ann Charles-Hatt","doi":"10.1080/03007766.2022.2123509","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123509","url":null,"abstract":"ABSTRACT In this article, we present a case study of Mungal Patasar and his band, Pantar to explore syncretism between jazz and local music traditions in Trinidad and Tobago. We discuss the nuances emerging from the interactions between East Indian and African music traditions as we delineate the ways jazz diaspora is performed within this context. The overall findings of this study demonstrate that a perspective of Trinidad and Tobago’s national identity through ethnicity is re-articulated in Patasar’s work, not from a purist approach, but where the foundations of African and Indian ethnic identities remain intact.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"486 - 503"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42061766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/03007766.2022.2123458
Bruce Johnson, Ádám Havas
Although Popular Music and Society published a special issue on jazz in 2006 (volume 29, issue 3, July), only a decade ago it was still unusual for an academic journal specializing in popular music to deem it appropriate to devote a special issue to jazz, and this was even more so with respect to jazz outside the United States. In the history of popular music studies, jazz has been something of an outlier. Partly because of its postwar aspirations to high-art status, jazz has not fitted neatly into the narrative arc largely defined by a field of study dominated by the rock-pop tradition with which the growth of such studies has broadly coincided. And until the late twentieth century, the dominant jazz narrative was built on the foundation of a canon wholly constructed within the United States and then exported internationally. From the late twentieth century, both of those categorical boundaries – between jazz and popular music, and U.S. jazz and its negligible “Others” – have increasingly been challenged. While jazz has begun to infiltrate the discourse of popular music, the study of jazz itself has embraced the global picture as something more than a footnote or an aside. We can trace that process back almost to the mid-twentieth century, with David Boulton’s Jazz in Britain of 1959, and over subsequent decades publications on jazz in such geographically and politically disparate regions as Australia (Bisset; Johnson, Oxford Companion; Whiteoak) and different totalitarian regimes including the Third Reich (Kater) and the USSR (Starr). It has been in the twenty-first century, however, that we witness a sea change, the development of a “critical mass” in studies of the global jazz diaspora. The term “New Jazz Studies” (NJS) has given focus to a growing international community of scholars for whom the U.S.-centric canon-based model has proven to be too constricting in the study of a music whose larger significance in cultural history lies in its globalization. In neglecting the stories of jazz beyond the borders of the United States, the established canonical account seriously limits our understanding of the cultural work that jazz has performed as a global force that expressed the multiple ambiguities of Westcentered globalization. The U.S. canon is an essential point of reference but has produced a jazz narrative that tends to turn back on itself, retelling the same tales; “ . . . the problem with writing about a world of twentieth-century jazz is that the history of jazz (one located almost exclusively inside the geopolitical boundaries of the United States) has
{"title":"Western Bias, Canonicity, and Cultural Globalization: Introduction to “Jazz Diasporas”","authors":"Bruce Johnson, Ádám Havas","doi":"10.1080/03007766.2022.2123458","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123458","url":null,"abstract":"Although Popular Music and Society published a special issue on jazz in 2006 (volume 29, issue 3, July), only a decade ago it was still unusual for an academic journal specializing in popular music to deem it appropriate to devote a special issue to jazz, and this was even more so with respect to jazz outside the United States. In the history of popular music studies, jazz has been something of an outlier. Partly because of its postwar aspirations to high-art status, jazz has not fitted neatly into the narrative arc largely defined by a field of study dominated by the rock-pop tradition with which the growth of such studies has broadly coincided. And until the late twentieth century, the dominant jazz narrative was built on the foundation of a canon wholly constructed within the United States and then exported internationally. From the late twentieth century, both of those categorical boundaries – between jazz and popular music, and U.S. jazz and its negligible “Others” – have increasingly been challenged. While jazz has begun to infiltrate the discourse of popular music, the study of jazz itself has embraced the global picture as something more than a footnote or an aside. We can trace that process back almost to the mid-twentieth century, with David Boulton’s Jazz in Britain of 1959, and over subsequent decades publications on jazz in such geographically and politically disparate regions as Australia (Bisset; Johnson, Oxford Companion; Whiteoak) and different totalitarian regimes including the Third Reich (Kater) and the USSR (Starr). It has been in the twenty-first century, however, that we witness a sea change, the development of a “critical mass” in studies of the global jazz diaspora. The term “New Jazz Studies” (NJS) has given focus to a growing international community of scholars for whom the U.S.-centric canon-based model has proven to be too constricting in the study of a music whose larger significance in cultural history lies in its globalization. In neglecting the stories of jazz beyond the borders of the United States, the established canonical account seriously limits our understanding of the cultural work that jazz has performed as a global force that expressed the multiple ambiguities of Westcentered globalization. The U.S. canon is an essential point of reference but has produced a jazz narrative that tends to turn back on itself, retelling the same tales; “ . . . the problem with writing about a world of twentieth-century jazz is that the history of jazz (one located almost exclusively inside the geopolitical boundaries of the United States) has","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"371 - 376"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43011655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/03007766.2022.2123500
Heli Reimann
ABSTRACT Following the period of lowest political tolerance toward jazz from the late 1940s to the death of Stalin in 1953, Soviet jazz culture experienced gradual growth during Nikita Khrushchev’s Thaw. This essay argues that the jazz awakening in the 1960s was part of the shestidesyatniki (Sixtiers) movement and that legalization of jazz took place within the frameworks of Soviet leisure activities and amateur culture. In addition, the growth of Soviet jazz was influenced by American jazz diplomacy during the 1950s and 1960s, represented by Willis Conover and his Jazz Hour and the tours of the Jazz Ambassadors.
{"title":"The (New) Awakening of Soviet Jazz Culture in the 1960s","authors":"Heli Reimann","doi":"10.1080/03007766.2022.2123500","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123500","url":null,"abstract":"ABSTRACT Following the period of lowest political tolerance toward jazz from the late 1940s to the death of Stalin in 1953, Soviet jazz culture experienced gradual growth during Nikita Khrushchev’s Thaw. This essay argues that the jazz awakening in the 1960s was part of the shestidesyatniki (Sixtiers) movement and that legalization of jazz took place within the frameworks of Soviet leisure activities and amateur culture. In addition, the growth of Soviet jazz was influenced by American jazz diplomacy during the 1950s and 1960s, represented by Willis Conover and his Jazz Hour and the tours of the Jazz Ambassadors.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"467 - 485"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44416414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","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：