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Relevant bibliographies by topics / Jazz – History and criticism

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Academic literature on the topic 'Jazz – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Jazz – History and criticism"

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Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (2017): 45–59. http://dx.doi.org/10.5450/ejm.2017.16.5778.

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In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and

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Frumkin, R. A. "Hearing Is Believing." Resonance 2, no. 1 (2021): 19–26. http://dx.doi.org/10.1525/res.2021.2.1.19.

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This essay explores music’s power to explicate, exaggerate, and even undermine moving images, examining first the marriage of sound and film through the invention of the Vitaphone and later illustrating the maturation of this marriage through an exegesis of Nicholas Britell’s score for the popular television show Succession. The Vitaphone debuted with Al Jolson’s The Jazz Singer, a film that made Jolson a household name and further popularized the vaudeville tradition of blackface. It is no coincidence that the synchronization of sound and film—a major innovation that would change the way we t

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Kluth, Andrew J. "Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”." Journal of Jazz Studies 12, no. 1 (2019): 51–71. http://dx.doi.org/10.14713/jjs.v12i1.117.

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(Opening paragraph): In this article, I invoke the concept of intermusicality as defined by Ingrid Monson and develop its role in meaning-making in musical worlds. Her groundbreaking book, Saying Something: Jazz Improvisation and Interaction (1996) offers a sophisticated criticism of jazz improvisation and the construction of meaning therein. In doing so, it explores methods by which to nuance and/or rupture traditional historiographies that construct the jazz canon. More than intermusicality, though, I look to a more general intertextuality as a hermeneutic window disruptive to the “great man

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Natambu, Kofi. "Whose Music is it, Anyway?: The Oxford University Press Jazz History/Criticism Series, 1980-Present." Black Scholar 29, no. 4 (1999): 48–51. http://dx.doi.org/10.1080/00064246.1999.11430983.

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Perchard, Tom. "Mid-century Modern Jazz: Music and Design in the Postwar Home." Popular Music 36, no. 1 (2016): 55–74. http://dx.doi.org/10.1017/s0261143016000672.

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AbstractThis article takes an imagined, transnational living room as its setting, examining jazz's place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In magazines as apparently diverse asIdeal Homein the UK andPlayboyin the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locating the style in a historical sociology of taste, this piece attempts to describe jazz's role in what was an em

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Tatsumi, Takayuki. "Literary History on the Road: Transatlantic Crossings and Transpacific Crossovers." PMLA/Publications of the Modern Language Association of America 119, no. 1 (2004): 92–102. http://dx.doi.org/10.1632/003081204x23557.

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Literary history has always mirrored discursive revolutions in world history. In the United States, the Jazz Age would not have seen the Herman Melville revival and the completion of Carl Van Doren's The Cambridge History of American Literature (1917–21) without the rise of post–World War I nativism. If it had not been for Pearl Harbor, F. O. Matthiessen's American Renaissance (1941) could not have fully aroused the democratic spirit embedded in the heritage of New Criticism. Likewise, the postcolonial and New Americanist climate around 1990, that critical transition at the end of the cold war

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Zhou, Ziyang. "Analysis of The Great Gatsby from the Perspective of Western Marxism." International Journal of Education and Humanities 10, no. 1 (2023): 20–23. http://dx.doi.org/10.54097/ijeh.v10i1.10912.

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Fitzgerald (1896-1940) is one of the most outstanding novelists in America of the 1920s and the spokesman of the “Lost Generation”, as well as the creator of “the Jazz Age”. As a typical writer of “Lost Generation” in the United States during the post-war period of the economic prosperity, he not only experienced false prosperity of “the 1920s-full of clamor” – “the Jazz Age”, but also predicted that it would not last long. His representative works The Great Gatsby, is a novel about a typical American young man -- Gatsby’s pursuit of the American dream, which vividly portraits the trend of mon

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Tabor, Joanna. "The History of Lithuanian Literature According to Ričardas Gavelis." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 99–107. http://dx.doi.org/10.37384/aplkp.2020.25.099.

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Ričardas Gavelis’s (1950–2002) prose contains many cultural references, including the names of famous European writers, thinkers and philosophers, such as Camus, Kafka, Beckett, Schopenhauer, Nietzsche, or Orwell. Characters of Gavelis’s novels think about these authors, discuss their texts and ideas with others, but also write letters to them, contact them telepathically or even… physically. A few Lithuanian authors’ names can be found there as well. Hence, the aim of this article is to have a closer look at those names and the context in which they appear. I am going to analyze first three n

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Verbeke, Martin. "French Rap Genres and Language: An Analysis of the Impact of Genres on Non-Standard Language Use." Nottingham French Studies 58, no. 1 (2019): 44–63. http://dx.doi.org/10.3366/nfs.2019.0235.

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This article looks at how three French rap genres (poetic/jazz, ego trip and knowledge) affect the use of non-standard language. This research is based on quantitative and qualitative analyses of a corpus of selected francophone rap tracks. The qualitative analysis focuses on extracts from semi-structured interviews with francophone rappers and on the depiction of themes and rappers' performance in lyrics and videos. This article concludes that the genre of the tracks is a strong determinant of NSL use. Whether a track belongs to ego trip proves to be crucial, as this genre is much more likely

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Gennari, John. "Jazz Criticism: Its Development and Ideologies." Black American Literature Forum 25, no. 3 (1991): 449. http://dx.doi.org/10.2307/3041811.

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Dissertations / Theses on the topic "Jazz – History and criticism"

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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century

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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.

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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discurs

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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists

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Ayrton, Brook Alan. "Keith Stirling : An introduction to his life and examination of his music." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7728.

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This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected througho

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Camacho, Bernal Leonardo. "Miles Davis: The Road to Modal Jazz." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3693/.

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The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the re

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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.

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Bogle, James Michael. "Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2479/.

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Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Moveme

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Books on the topic "Jazz – History and criticism"

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Tirro, Frank. Jazz, a history. 2nd ed. Norton, 1993.

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Vernick, Gordon. Jazz history overview. 2nd ed. Kendall/Hunt Pub. Co., 2007.

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Verdeaux, Laurent. Jazz-jazz. M. Milo, 2003.

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Ray, Allen, and Taylor Jeff, eds. Behind the beat: Jazz criticism. Brooklyn College Institute for Studies in American Music, 2003.

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Megill, Donald D. Introduction to jazz history. 6th ed. Pearson/Prentice Hall, 2002.

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Megill, Donald D. Introduction to jazz history. 3rd ed. Prentice Hall, 1993.

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Megill, Donald D. Introduction to jazz history. 4th ed. Prentice Hall, 1996.

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Tanner, Paul. Jazz. 9th ed. McGraw Hill, 2001.

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Tanner, Paul. Jazz. 8th ed. Brown & Benchmark, 1997.

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Tanner, Paul. Jazz. McGraw-Hill, 2012.

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Book chapters on the topic "Jazz – History and criticism"

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Millgate, Jane. "Biography, History, Criticism." In Macaulay. Routledge, 2022. http://dx.doi.org/10.4324/9781003335412-6.

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Capecchi, Danilo. "Poinsot’s criticism." In History of Virtual Work Laws. Springer Milan, 2012. http://dx.doi.org/10.1007/978-88-470-2056-6_14.

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Lawson, Sonya R. "Inclusive Jazz History Pedagogy." In The Routledge Companion to Jazz and Gender. Routledge, 2022. http://dx.doi.org/10.4324/9781003081876-29.

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Andersen, Nina Marie. "Aesthetically Performed Landscape Criticism." In Environmental History. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-25713-1_44.

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Bowring, Jacky. "History of landscape architectural criticism." In Landscape Architecture Criticism. Routledge, 2020. http://dx.doi.org/10.4324/9780429450983-2.

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Selden, Raman. "The Plural Text and History." In Criticism and Objectivity. Routledge, 2023. http://dx.doi.org/10.4324/9781003408185-5.

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Racz, Mark. "Jazz Criticism in America." In The Cambridge History of Music Criticism. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.025.

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Collier, James Lincoln. "The Critics." In Jazz. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195079432.003.0009.

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Abstract Criticism has a long history. Its practitioners include some of the most imposing names in arts and letters, from Plato to George Bernard Shaw, from DaVinci to Ezra Pound. Yet, despite the fame of some workers in this field, the craft has always been somewhat suspect. What, really, does the critic contribute? Who elected him to his office? What business does he have to tell artists, who are presumed to be able to do something the critic cannot, how to achieve their efforts, and indeed what effects they ought to achieve? It has seemed to a good many working artists-if we must use that dreadful term-that the primary function of criticism is to assert the superiority of the critic over the artist. That, certainly, was the case with the deconstructionists, who managed blandly to assert that the writer had no idea what his work meant, and it was up to the critic to explain it to him. 1 Given how

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Collier, James Lincoln. "Local Jazz." In Jazz. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195079432.003.0010.

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Abstract I have been saving for last the discussion of a phenomenon in jazz that is little remarked, but that may be more important to the vitality of the music than other aspects I have talked about. It is, in any case, one of the happiest ones. That is what might be called the “local” jazz scene. Jazz criticism and jazz history have always concentrated on the big names, the stars, and the famous clubs and dance halls where they worked. In fact, jazz history is usually written around a chain of major figures Oliver, to Armstrong, to Beiderbecke, to Ellington, to Goodman, to Parker, to Davis, to Coltrane, to Coleman-to the point where it might appear to the outsider that these great players were jazz history.

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Sudhalter, Richard M. "Epilogue." In Lost Chords. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195055856.003.0029.

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Abstract Beyond dispute, white musicians have been an integral force in jazz from its earliest days. But what other conclusions can be drawn from this vast and sprawling chronicle? Surely that much “received” history, for various reasons, has promulgated a distorted version of the facts. That the first, formative jazz criticism of the Depression years was shaped—and skewed—by ideas that were ideological before they were musical. Above all, that the idea of jazz as an exclusively black cultural preserve does not stand up to close scrutiny.

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Conference papers on the topic "Jazz – History and criticism"

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Zou, Jie, and Shunhui Wang. "History of Feminist Criticism in Japan." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.245.

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Margolin, Victor. "American Jazz Album Covers in the 1950s and 1960s." In 9th Conference of the International Committee for Design History and Design Studies. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0024.

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Bedford, Joseph. "On the Uses of History, Theory, and Criticism for Architecture." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.47.

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It has been nearly two decades since Sarah Whiting, Bob Somol, Michael Speaks and Stan Allen, declared that architectural design practice should break from what they described as a design culture bogged down with theory, and restrained by what they called the “critical project.” This paper returns to the twin problematic of post theory and post critique. Yet it approaches the topic from a more institutional perspective, developing a new diagnosis based on the fate of institutional arrangements within schools of architecture involving the creation of “history, theory, and criticism” in the mid-

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Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.83.19.061.

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в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (17

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Shcherbina, M. M. "Beading the womantory: art project as a way to tell about women’s history." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-72.

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VUKIC, Fedja. "Art criticism and the semantic construction of the concept of Design." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-109.

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"A Study of the Literary Criticism Style in Xia Zhiqing's The History of Chinese Modern Novels." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.45.

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FĂRCĂȘEL, Ligia. "A Perspective on the Musical Criticism of Iasi from the Interwar Period." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0007.

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The advantage of learning history through the perspective of the criticism of a certain period lies in the fact that the journalist does not merely reproduce the information, but also describes the state emanating from the events commented upon, himself being contemporary with them. For us, readers of later decades, newspapers are, objectively speaking, a genuine history textbook. However, discovering interwar periodicals from Iasi has proven to be a fairly difficult task. In order to identify the titles from Iasi, I have consulted the catalogues of three major libraries in the city: “Mihai Em

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Kurdina, Ye S., and D. E. Chernov. "The Use of Information and Communication Technologies in Self-Training of Students of the Pop and Jazz Direction of Training." In International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200509.010.

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Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.

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Reports on the topic "Jazz – History and criticism"

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Halych, Valentyna. SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS: MEMORIAL RECEPTION. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11055.

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The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary cri

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Carty, Anthony, and Jing Gu. Theory and Practice in China’s Approaches to Multilateralism and Critical Reflections on the Western ‘Rules-Based International Order’. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/ids.2021.057.

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China is the subject of Western criticism for its supposed disregard of the rules-based international order. Such a charge implies that China is unilateralist. The aim in this study is to explain how China does in fact have a multilateral approach to international relations. China’s core idea of a community of shared future of humanity shows that it is aware of the need for a universal foundation for world order. The Research Report focuses on explaining the Chinese approach to multilateralism from its own internal perspective, with Chinese philosophy and history shaping its view of the nature

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Jewell's Crescent City Illustrated: New Orleans: 1874. Inter-American Development Bank, 2000. http://dx.doi.org/10.18235/0006419.

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Sixty objects and historic documents from the Historic New Orleans Collection, the Louisiana State Museum, and the New Orleans Museum of Art, including maps, photographs, lithographs, land deeds, silverware, earthenware, woodwork, msuic sheets, and even the trumpet of jazz great Dave Bartholomew. The "River and a City" section gave an overview of the history of New Orleans since discovery, and the "Unique Cultural Blend" section highlighted cultural expressions unique to the city itself. The exhibition was organized in honor of the City of New Orleans, site of the 41th Annual Meeting of the ID

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