Academic literature on the topic 'Jazz – Aspect social'

Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician's individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a “high” art. While there remains a vocal contingent of critics arguing against the JPA's definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America's music.

A growing tendency to study Australian popular musics as an aspect of Australian cultural studies has begun to bear fruit in the form of long overdue appraisal of the socio-cultural and musical significance of these musics. Yet in our justified enthusiasm for the exciting horizons made visible by this development, it is possible to forget that music research can serve more traditional but nevertheless important functions. In the study of popular musics, in particular, knowing how music was played can be more important than knowing what piece of repertoire was performed. For example, discovering what was ‘done’ to music in performance can tell us about the sound of unrecorded genres and can facilitate (for whatever reason) the reconstructed performance of these genres. Knowing that specific performance gestures (such as ‘flattened’ or ‘blues’ notes) were applied can of course increase our understanding of the social, cultural, and even the political nature of specific musics. In this article I am mostly concerned with applying this notion of ‘doing things’ to music to the retrieval of musical information about a specific ensemble. This more or less indigenous ensemble, which was promoted in 1918 as ‘Australia's First Jazz Band’, has captured the imagination of Australian jazz writers and is widely considered to represent the beginning of Australian jazz (Bissett 1979, p. 9).

AbstractIn 1956, trumpeter Dizzy Gillespie became the first jazz musician to participate in the State Department's Cultural Presentations program, a highly public aspect of U.S. Government's Cold War propaganda efforts abroad. Seeking to capitalize on this historic moment, Gillespie's record company issued two LPs featuring his ambassadorial ensemble: World Statesman (1956) and Dizzy in Greece (1957). To date, scholarship about the tours highlights how Gillespie skillfully navigated the shifting political landscape both on and off the bandstand. The role that commercial record making played in the renegotiation of African Americans’ social position during this era, however, remains undertheorized. This article reveals how, despite the albums’ claims of representation from abroad, the LPs contain only a small portion of Gillespie's tour repertoire. I argue that these LPs were never meant to document the tours with veracity; rather, they were products of a political and technological moment when Gillespie's record label could leverage musical diplomacy to circulate an elevated vision for jazz within the country's cultural hierarchy.

Based on an ethnographic multi-sited fieldwork, this article analyzes alternative rhythms of youth culture. The aim is to illustrate how young people improvise and organize rhythms in the city as a part of their place-making. I develop the concept of a spatial jam session, which provides a framework suitable for analyzing spatial dimension of contemporary youth culture. Developing Henri Lefebvre’s rhythm analysis through empirical material, a phenomenological understanding of place and jazz theory contributes an analytical framework that takes bodily, material, spatial and temporal dimensions of the place-making practices of young people into account. Using the concept of a spatial jam session, I argue that a central aspect of young people’s place-making is being able to improvise through materiality, sociality, cultural norms and musical expression. I illustrate how young people create spatial and temporal obstructions in order to maintain a practice of improvising, which to these young people is a way of constructing meaning in everyday life.

The relevance of the topic is stipulated by the fact that saxophone performance is becoming widespread nowadays, it substantiates the needs to establish new performing schools and to initiate researches aimed at improving methods of playing the saxophone. The purpose of the article is to pay special attention to the social status of the saxophone, its role in the system of professional music education and the evolution of performing techniques of playing the saxophone. The research methods are as follows: theoretical analysis of scientific and methodological literature, comparative studies. Summary: The main scientific and methodological works devoted to the improvement of methods and techniques of playing the saxophone are considered. In the historical aspect, some theoretical works of domestic and foreign authors on the methods and techniques of playing the saxophone have been analysed: the American researcher Carr W.E.J., who identified the physiological features of playing wooden wind instruments (the flute, the oboe, the clarinet, the bassoon and the saxophone); the Russian Professor Ivanov V. D., who identified modification forms and types of saxophone music; the Ukrainian researchers Kyrylov S. V., who singled out the so-called "concert face of the saxophonist" and the associated set of his / her professional skills, Krupey M. V., who historically analysed saxophone performance and determined the stylistic basis for the formation of saxophonist’s performing skills, Professor V. Apatskyi, who came to the conclusion that the advantage of an "o-shaped" ear cushion is a peculiar position of the lower lip, which is necessary for flexible control of the cane. The article also considers scientific and methodological works of foreign authors, reflecting the problematic and related issues of saxophone performance, which allowed us to draw the following conclusions: academic and jazz saxophone performances develop in parallel and are interdependent; the recognition of the saxophone individuality contributes to the transformations within the professional system of education, the teaching of the saxophone having become narrowly professional in this connection; the development of saxophone performance has led to the creation of national schools, which stipulated a rise in the number of musicians of the new formation, both academic and jazz.

The development of the organization of the event now starts to vary and provides a valuable and impressive experience for many people. So, from that along with its development, the event appeared increasingly unique both in terms of concept to the venue used. One of the events that have its uniqueness is the festival. In this case, the Prambanan Jazz Festival is one of the types of events that are used as the focus of research. Organizing an event can have an impact on the surrounding community, both in terms of social, environmental, and economical. Communities in the surrounding environment will have different perceptions about the impact of the event. An event can be considered as successful if the community perceives the positive benefit from the event and give considerable support. The research method used in this study is quantitative with descriptive analysis. The purpose of this study was to find out how local people perceive the impact of the implementation of Prambanan Jazz Festival on social, environmental, and economic impacts. The result of this study indicates that the Prambanan Jazz Festival had a little social impact on local communities. The Prambanan Jazz Festival does not provide significant environmental impact from some of the main aspects of this study. In addition, the implementation of the Prambanan Jazz Festival has not affected the economy around the event area due to the absence of programs made by the event organizers to support the economy of the surrounding community.Keywords: Local Communities Perception, Prambanan Jazz Festival, The Impact of Event

From the year 1982, new possibilities were given to the spatial organization of the French territory. In these spaces, the actions of social groups are recognized. Therefore, the social group builds the territory but the environment in which it lives also influences it. This paper studies the case of the Jazz in Marciac festival as an example of territorial development associated with the dimension of the voluntary commitment of the population towards a common objective and a source of debate. This jazz festival takes place at the village of Gers, Marciac and is guided by the principles of popular education. Today it gives life to its territory through national and international recognition as one of the most recognized jazz festivals. This is why we decided to ask ourselves about the causes of success at the jazz festival in a French village. So the questions came out: what does this imply in terms of development at the scale of its surroundings? Why and how this festival contributed to authentic development to the extent of its territory. The territory of Marciac turned a music festival into a local development opportunity, by its strength for cultural tourism, the valuation of local heritage and the improvement of living conditions. So the festival has become a showcase for local productions and a driving force for regional planning, it improves cultural, social and economic aspects of its territory. Keywords: Jazz Festival. Territory Development. Cultural Tourism. Popular Education.

The article is an attempt at analysing the role of the references to jazz music in the Argentinian writer’s most famous novel, which chapters 10–18 provide an interesting example of the use of this kind of music as a means of a whole range of extraliterary meanings. In the article Hopscotch is treated both as a Cortázar’s artistic manifesto and as an example of a work which fulfils its assumptions in the most complete manner. Musical elements such as improvisation and swing shape the novel in its various aspects, from narration to structure, reflecting a surrealism-inspired need to create literature that transcends traditional ontological frameworks. Jazz is also an illustration of aspirations to independence in artistic and social fields, as well as a means of conveying philosophical ideas and reaching the subconscious.

The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.

Fitzgerald is considered by many to be the spokesperson of the 1920’s post-World War I, offering his readers a distinctive look into the Golden Age of the U.S.A.. This article focuses on F. Scott Fitzgerald’s masterpiece The great Gatsby (2001) and its representation and criticism of the historical context in which author and novel are inserted: the Jazz Age or the Roaring Twenties of the United States of America. For this purpose, our critical framework is based on Bloom’s (2006) and Heise’s (2001) studies on the subject, targeting a pertinent dialogue with Fitzgerald’ s work. As a result of our articulation between the critical framework and the corpus, we were able to recognize how the American author managed to express in his work a keen perception of the social conventions and the morals of the Jazz Age, of both the overt (the parties and the ostentation) and the covert aspects (the emptiness of that society and the unspoken post-war dread) of his time.

Cette thèse a pour objet l'amour du jazz en France : elle s’interroge sur l'anatomie du goût pour ce genre musical, sa formation historique et ses modalités contemporaines d'existence. En étudiant successivement la sociogenèse du goût au sein du champ jazzistique, la morphologie sociale du public du jazz, puis la relation entre l'espace de production et l'espace de consommation à travers la médiation des lieux de diffusion et, enfin, l'intériorisation du goût au sein d'un groupe de jazzophiles et au fil d'itinéraires d'amateurs, elle rend compte des logiques sociales de production du goût dans ses trois états : institutionnalisé, objectivé et incorporé. Ainsi, elle appréhende simultanément les dimensions du goût généralement séparées par la spécialisation des objets d'étude et des méthodes d'investigation : histoire sociale du goût, sociologie des univers de production artistique, approche statistique des publics et ethnographie de la réception
This thesis is about the love of jazz in France: she wondered about the anatomy of taste for this kind of music, its history and its contemporary kinds of existence. Exploring the sociogenesis of taste in the jazz field, the social morphology of the jazz public, then the relationship between space of production and space of consumption through the mediation of places of distribution and, finally, the internalization of taste in a group of jazz fans and over pathways of amateurs, it reflects the logic of social production of taste in its three states: institutionalized, objectified and incorporated. Thus, it simultaneously captures the dimensions of taste usually separated by the specialization of objects of study and methods of investigation: social history of taste, sociology of artistic production, statistical approach of public and ethnography of reception

Dès les débuts de l'Occupation, le jazz, pourtant considéré par les nazis comme une musique " négro-judéo-anglo-saxonne " remplit les salles de concert. On peut l'entendre sur Radio-Paris et les disques atteignent des chiffres de vente impressionnants. La francisation des titres est la règle. La danse est interdite, mais clubs privés, cours de danse et surprises-parties se multiplient. Compositeurs et musiciens juifs sont interdits, en concert comme à la radio, mais le tsigane Django Reinhardt est l'idole du public, occupants compris ! Les zazous, plus anticonformistes que contestataires et ignorant le vrai jazz, sont rejetés par les amateurs. À la Libération, des musiciens sont concernés par l'épuration : employés à Radio-Paris, tournées en Allemagne,. . . L'idée ancrée dans l'imaginaire social que le jazz était interdit sous l'Occupation est une idée fausse, mais elle perdure et contribue à entretenir la conviction que jouer ou même écouter du jazz constituait une forme de résistance.

Les musiques afro-américaines et le jazz en particulier, nous interpellent de manière opportune sur les relations interculturelles qui se jouent dans nos sociétés occidentales. Analyseurs des relations interculturelles, les phénomènes musicaux d’origine afro-américaine nous invitent à repenser sous un angle original les questions de la ségrégation et des discriminations exercées sur la communauté afro-américaine. En outre, c’est notre rapport à la culture et à l’art dans nos sociétés occidentales qui s’en trouve interrogé. À travers la transmission et la diffusion du jazz de l’autre côté de l’Atlantique, en Europe et notamment en France, j’analyserai les perspectives et développements contemporains du jazz en interrogeant en particulier l’enchevêtrement des multiples traditions. La cohabitation, dans le maelstrom contemporain, de diverses traditions jazzistiques peut être perçue comme autant de tentatives originales et conflictuelles de musicalisation du monde
The Afro-American music and jazz in particular, question us in a convenient way on the intercultural relations which happen in our western societies. “Analyser” of the intercultural relations, the musical phenomena of Afro-American origin invites us to rethink under an original angle the questions of segregation and discriminations exercised on the Afro-American community. More over, the relationship we have with culture and art in our western societies has to be questioned here. Through the transmission and the distribution of Jazz on the other side of the Atlantic Ocean, in Europe in particular in France, I shall analyse the perspectives and the contemporary developments of the jazz would thus be perceived as so many original and contradictory attempts of “musicalisation” of the world

Cette thèse est une étude anthropologique et historique de la reformulation du free jazz en france dans les années 60 et 70, à un moment où les musiciens européens s'émancipent de leur position épigonale vis-à-vis du jazz américain pour créer de l'identité musicale locale. Une première problèmatique de recherche concerne l'analyse anthropologique des logiques d'altérité portées par la pratique jazzistique. Car si le jazz participe pleinement de notre modernité occidentale, il configure également à ses marges un modèle culturel alternatif à l'influence durable - un véritable autre dans le même. La seconde problèmatique est un retournement réflexif de cette approche de l'altérité. La circulation musicale transatlantique qui fonde ce rapport de l'Europe à "l'autre" afro-américain est alors envisagée dans les termes d'une anthropologie symétrique et d'une anthropologie du proche. L'étude de la reformulation française du free-jazz, au travers de relations à des objets comme entre sujets,dans la perspective d'une anthropologie de l'acculturation mobilisant les concepts de reformulation, de bricolage et de malentendu, permet plus globalement de questionner notre modernité culturelle européenne, ses limites et ses altérités internes. Il s'agit ainsi d'étudier la réception en France d'une altérité culturelle intimement articulée à la musique, au travers d'une méthode originale consistant à théoriser les pratiques musicales plutôt que les traits formels, les logiques socio-musicales à l'oeuvre dans ces pratiques, enfin les processus de circulation symbolique entre pratiques, formations discursives et objets sensibles qui informent créativité et identité musicales locales
This thesis work is an anthropological and historical study of the reformulation of free jazz in France, in the 60's and 70's. In this formative period, european musicians started to emancipate from their epigonal position concerning american jazz, creating some local musical identity. A first research problematic concerns the anthropological analysis of the otherness brought by jazzistic musical practice. If jazz is fully part of our occidental modernity it also constitutes, at its ends, an alternative cultural model - an influent otherness in the same. The second research problematic is a reflexive turnround of this otherness approach. The transatlantic musical circulation which is at the very heart of this relation of Europe with the afro-american "other" is then examined in the perspective of a symetric anthropology and an anthropology of the near. By studying the way free jazz was reformulated in France, through relations to objects as between subjects, in the perspective of an anthropology of cultural change mobilizing the concepts of reformulation, bricolage and misunderstanding, the purpose of such a work is to examine our european cultural modernity, its limits and internal otherness. By doing so, this works intends to study the reception in France of a cultural otherness intimately articulated with the music, through an original method consisting of theorizing the musical practices instead of the formal features they determine, the socio-musical logics operating in these practices and finally the processes of symbolic circulation between practices, discursives formations and sensibles objects that inform musical creativity and produce local identity

L'enquête est consacrée aux catégories de perception et d'évaluation du jazz en France des années 1900 aux années 1990. Il s'agit d'interroger la « production de la réception » du jazz, soit la prescription de ses formes d'expérience et de ses dispositifs d'appréciation. La formation du genre est traitée à travers les classifications et les institutions spécifiques, mais aussi les réinvestissements continués du « rythme (afro-)américain ». L'autonomisation du champ du jazz renvoit à cinq processus : l'émergence d'un marché spécifique, de musiciens spécialisés, d'instances de consécration indépendantes, la disqualification des amateurs, la domestication des audiences. L'ethnographie de deux clubs contemporains permet d'articuler les échelles d'analyse, de l'ordre interactionnel (fabrication des expériences) aux processus structuraux qui les conditionnent (politiques culturelles, légitimation d'un « éclectisme cultivé », internationalisation marchande des échanges musicaux)
The study is devoted to the categories of perception and evaluation of jazz music in France from the 1900s' to the 1990s'. Those are considered through frames of experience and material settings for appreciation in order to analyze the "production of the reception" of jazz. The formation of "jazz" is treated through the stabilization of classifications and of specific institutions, and through the reinvestments of so-called "(African) American rythm". The autonomisation of the field of jazz is studied through five processes: the emergence of a specific market, of specialized musicians and of independent gate-keepers, the enrôlement and disqualification of amateurs, and the domestication of audiences. The ethnography of two contemporary jazz-clubs leads to balance micro and macroanalysis, linking the order of aesthetical interactions with structural processes concerning public policies of culture, new models of cultural consumption, and the internationalization of musical markets

La créativité apparaît aujourd’hui comme un puissant moteur économique, relevant de l’activité d’un ensemble d’individus. En effet, celle-ci n’est pas le fruit d’un génie isolé, comme nous nous l’imaginons souvent. Au contraire, la créativité repose sur le travail collaboratif de toute une communauté, partageant les mêmes valeurs, et formant un véritable réseau de coopération, dans lequel chaque individu apporte sa propre contribution, tout en subissant l’influencedes autres. La structure communautaire joue ainsi un rôle essentiel en définissant les relations de pouvoir qui peuvent exister entre les différents acteurs présents. Afin d’illustrer notre propos, nous nous focalisons sur le monde du jazz. Pour cela, nous avons construit les réseaux de collaboration entre différents artistes, à partir des sessions d’enregistrement de plusieurs labels. L’objectif est de comprendre les mécanismes à l’origine de l’architecture de ces réseaux, de même que leur évolution dans le temps. Nous montrons que cette structure communautaire est directement liée à la stratégie mise en place par chaque label, ce qui a des effets déterminants sur le processus créatif et sur la performance économique dans son ensemble
Creativity is now considered as a powerful economic tool, relying on the activity of many different individuals. Indeed, the creative process does not originate from the talents of isolated geniuses, as it is often described. Rather, creativity results from the joint efforts of an important community, sharing the same beliefs, and embedded in a large cooperative network, in which each member is influenced by others and contributes in his own way to support the development of new ideas. The community structure therefore plays a major role in defining how individuals have access to a variety of resources. In order to illustrate these thoughts, we analyze the jazz world. Accordingly, we constructed the network of collaboration among different artists, by relying on the recording sessions of several labels. The aim of this study is to characterize the mechanisms which may explain the emergence of a specific network architecture, as well as its evolution in time. We show that the community structure can be directly related to the label’s strategy, and therefore has major effects on the creative process and on the economic performance of the system in general

Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.

Le but de cette thèse est d'identifier les analogies entre les manifestations culturelles des communautés noires dans les villes de Rio de Janeiro, Buenos Aires et New York à la fin du XIXe et au début du XXe siècle. Du point de vue de cette réflexion, nous prétendons montrer que les stimulations culturelles et idéologiques qui imprégnaient ces villes ont été fondamentales pour la formation d’une matrice provocante et atténuante dans les compositions musicales et poétiques telles quelles les sambas, milongas, tangos et jazz de cette période et passibles, de cette façon, d’être observées dans une perspective trans-hémisphérique en ce qui concerne les Amériques. Fatalement, comme les villes de Rio de Janeiro, Buenos Aires et New York possèdent en commun le fait d’avoir participé à une expérience modernisatrice, nous déduisons que l’élément de désillusion senti par une fraction sociale a produit un mouvement de critique dans ces manifestations musicales qui faisait échouer les objectifs civilisateurs en créant des atmosphères qui rivalisaient avec la ville officialisée. Il s’agit de la ville contre la ville qui attirera notre attention à partir de l’atmosphère sentie dans les clubs, favelas et conventillos de ces villes et qui, prise dans sa complexité et densité historique, nous fournira des éléments pour penser les similitudes et les différences de ces villes et expériences musicales dans les Amériques
The aim of this thesis is to identify the analogies between the cultural manifestations of black communities in the cities of Rio de Janeiro, Buenos Aires and New York in the late nineteenth and early twentieth centuries. From the point of view of this reflection, we claim to show that the cultural and ideological stimulations that permeated these cities were fundamental for the formation of a provocative and attenuating matrix in musical and poetic compositions such as sambas, milongas, tangos and jazz of this period and in this way can be observed in a trans-hemispheric perspective in the Americas. Fatally, as the cities of Rio de Janeiro, Buenos Aires and New York have in common the fact of having participated in a modernizing experiment, we deduce that the element of disillusionment felt by a social fraction produced a movement of criticism in these musical demonstrations that defeated the civilizing aims by creating atmospheres that rivaled the official city. It is the city against the city that will draw our attention from the atmosphere felt in the clubs, favelas and conventillos of these cities and which, taken in its complexity and historical density, will provide us with elements to think similarities and the differences of these cities and musical experiences in the Americas

Cette thèse délaisse la traditionnelle approche essentialiste du jazz (que l’on peut résumer à la question « Qu’est-ce que le jazz » ?) qui a taraudé tout un pan de la sociologie américaine des cinquante dernières années de H.S. Becker à R.A Peterson pour proposer, en s'appuyant sur les théories communicationnelles et les outils des SIC, une modélisation spatiale des dynamiques informationnelles du milieu du jazz français par triangulation de leurs espaces de diffusion et de leurs communautés de réception (qui pourrait se matérialiser dans la question : « Où est le jazz ? »). En adoptant une approche multivariée “en écheveau” (Passeron, 1990) mais toujours spatialisée et basée sur l’ethnographie rapprochée, prenant appui sur trois catégories d’acteurs (programmateurs, musicien.ne.s, publics), la thèse reconstitue les étapes du processus d’information axiologique des musicien.ne.s primé.e.s et diffusé.e.s sur le marché du jazz, produites dans des « forums hybrides » (Callon, 1999, Lascoumes, 2001). Dans une première partie, cette thèse s’intéresse aux dynamiques internes qui régissent la circulation de l’information (Frère, 2003, Rebillard, 2006), dans le secteur du jazz en France, sur la valeur économique de cette information, en recensant les outils de mesure et signaux faibles (Caron, 2001) recueillis par les publics comme autant d’éléments de perception axiologique des musicien.ne.s primé.e.s. Dans une seconde partie, l’analyse comparée, en situation, des artistes et de leurs publics est étudiée en faisant appel à une enquête menée dans différents espaces publics d’écoute du jazz dans les agglomérations d’Avignon et de Lausanne (Suisse), sans se limiter aux seuls lieux institutionnalisés et repérés comme tels (Smac et salles labellisées). Enfin, dans une dernière partie, une enquête par questionnaire menée auprès des publics fréquentant ces lieux et une série d’entretiens de musicien.ne.s complètent l’observation sur les pratiques de sortie et les modalités de partage de l’information jazzistique. L'enjeu de cette thèse de sciences de l’information et de la communication est d’observer l’évolution des catégories pratiques d’évaluation utilisées par les publics pour qualifier le jazz ainsi que les interactions tant discursives que sociales que cette musique génère sur des temps longs. Si, sur le plan théorique, cette thèse prend appui sur les principaux travaux qui, en SIC, ont porté sur la dimension axiologique de la réception des musiques amplifiées (Dalbavie, 2006 ; Kaiser, 2012), sur le plan empirique, la thèse met à profit le traitement informatisé d’une base de données originale constituée en master et recensant près de 5000 récipiendaires de prix et récompenses professionnelles (leaders primés ainsi que leurs accompagnateurs ou « sidemen »), 300 instruments et familles d’instruments et une cinquantaine de lieux de diffusion. Cette thèse permet ainsi de mettre en évidence, sur quinze ans, une évolution des dispositifs informationnels du jazz en France et la naissance de formes de médiations plurielles (Gellereau, 2003) portant sur ce genre musical
This thesis abandons the traditional essentialist approach to jazz (which can be summarized in the question "What is jazz"?) That has tapped a whole section of American sociology of the last fifty years from HS Becker to RA Peterson. It proposes, based on the theories of cultural studies and media-cultures, a spatial modeling of the information dynamics of the French jazz "milieu" by triangulation of their diffusion spaces and of their reception communities (which could materialize in the question: "Where is jazz?"). The plan is organized in three parts: the current jazz market in France (part 1), the players in this market (part 2) and the public (part 3). By adopting a multivariate approach, "in skein" (Passeron, 1990) but still spatialized, based on three categories of actors (programmers, musician, public), the thesis reconstitutes the steps of the information process on the value of the award-winning and disseminated musicians on the jazz market, produced in "hybrid forums" (Callon, 1999, Lascoumes, 2001). These forums bring together musician, experts and lay people in specialized media, forums for dialogical democracy, public and private spaces dedicated to listening (springboards, academies, cultural seasons, festival seasons and punctual events)

La presente investigación analiza las características del aspecto rítmico y su relación con aspectos extra musicales (entrevistas) en tres piezas del disco Identities are Changeable (2014) del compositor puertorriqueño Miguel Zenón. Esta obra conceptual de jazz, que fue compuesta a partir de una serie de entrevistas a residentes neoyorquinos de ascendencia puertorriqueña, tiene la particularidad de haber integrado a las piezas musicales el registro sonoro de esas entrevistas. Además, las temáticas resultantes del diálogo con los entrevistados están representados musicalmente en estas piezas, creándose un diálogo minuciosamente diseñado. Estas entrevistas giran alrededor de la pregunta “¿Qué significa ser puertorriqueño y vivir en Nueva York?”, por lo cual la música del disco utiliza diversos recursos para representar conceptos relacionados a la identidad nacional, la tradición, la cultura, el lenguaje, entre otros. El recurso musical más utilizado en esta obra es la polirritmia, la cual se presenta de distintas maneras en cada una de las piezas del disco, adaptándose a las temáticas particulares de estos. Así, en el presente trabajo se realizará un análisis a profundidad de estas polirritmias en tres piezas seleccionadas y posteriormente se analizará por separado el contenido extra musical de las entrevistas para poder, por último, indicar las conexiones que existen entre la música y las temáticas abordadas.

The chapter discusses the most characteristic aspect of Johnny Hodges’ music: the tone he achieved on his instrument. In this respect, he was a throwback to the earliest days of jazz in New Orleans, when a musician was judged not primarily on the basis of speed or melodic invention but on the quality of the sound he produced. Citations to the views of New Orleans precursors--particularly Hodges’s model, Sidney Bechet—are provided in support of this view, which has fallen into disuse as jazz has developed from a music for communal dance and social occasions (parades, funerals, and picnics) to a music experienced primarily with the intellect, sitting down. Techniques that came to characterize Hodges’s style, primarily glissando and portamento are described; before Hodges, glissando had been thought to be not just impossible but also improper, in bad taste.

The conclusion reviews the book’s exploration of the work of African American jazz musicians as racial and religious representatives in the twentieth century, tracing how jazz artists’ emergence as a new kind of representative helped to locate religious authority for African Americans outside of traditional Afro-Protestant institutions. All four major jazz professionals provide examples of the religious aspects of race representation through their unique performances of religious and racial identities for public consumption, whether crafted intentionally or the result of social and cultural constructs. The conclusion offers a conceptual reorientation of Afro-Protestantism in light of this jazz landscape. Uncovering the ways in which jazz professionals leveraged their celebrity into a type of religious authority situated beyond institutional church life allows us to reconfigure Afro-Protestantism according to artistry that shaped understandings of theology, religious practice, and public engagement. Through artistry, we may conceive of Afro-Protestantism in relative terms: rather than as a religious establishment, it represented one strand of theological articulation, religious practice, and mode of public engagement alongside other significant religious movements in African American life. In the lives of jazz professionals, artistic expression reveals black practices of reciting, improvising on, and even drowning out conventional religious thought and practice.