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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
Pub Date : 2022-08-08DOI: 10.1080/03007766.2022.2123476
F. Schenker
ABSTRACT Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor in Asia that brought many Filipinos a sense of political pride was made possible by racialized hierarchies of work that served to undermine claims for Philippine independence.
{"title":"“Filipino Seekers of Fortune”: Jazz as Labor in 1920s Colonial Asia","authors":"F. Schenker","doi":"10.1080/03007766.2022.2123476","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123476","url":null,"abstract":"ABSTRACT Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor in Asia that brought many Filipinos a sense of political pride was made possible by racialized hierarchies of work that served to undermine claims for Philippine independence.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43468733","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: 10.1080/03007766.2022.2110679
Lisette Gallaher
{"title":"Rocking the Closet: How Little Richard, Johnnie Ray, Liberace, and Johnny Mathis Queered Pop Music","authors":"Lisette Gallaher","doi":"10.1080/03007766.2022.2110679","DOIUrl":"https://doi.org/10.1080/03007766.2022.2110679","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41812710","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: 10.1080/03007766.2022.2123516
Marc Duby
ABSTRACT South African jazz historiography has tended to regard Cape Town and Johannesburg as the principal axes of musical practice within the country’s borders. This discourse tends to marginalize such practice in Durban as the most obviously “British colonial” of South Africa’s big cities. While Durban’s history has shaped its unique population, its unique demographic makeup has in turn influenced local musicking practices. This essay examines notions of diaspora under three broad headings: diasporic currents within the country, diasporic flows from “outside” (indentured labor from India for Natal’s sugar plantations), and phenomenological reflections on the interwovenness of place and culture.
{"title":"“Big Map Idea”: Diasporic Currents in South African Music","authors":"Marc Duby","doi":"10.1080/03007766.2022.2123516","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123516","url":null,"abstract":"ABSTRACT South African jazz historiography has tended to regard Cape Town and Johannesburg as the principal axes of musical practice within the country’s borders. This discourse tends to marginalize such practice in Durban as the most obviously “British colonial” of South Africa’s big cities. While Durban’s history has shaped its unique population, its unique demographic makeup has in turn influenced local musicking practices. This essay examines notions of diaspora under three broad headings: diasporic currents within the country, diasporic flows from “outside” (indentured labor from India for Natal’s sugar plantations), and phenomenological reflections on the interwovenness of place and culture.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46097515","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}
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