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

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Kahr, Michael. "The Jazz Institutes in Graz." European Journal of Musicology 16, no. 1 (December 31, 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 analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer

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2

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 think of both for decades to come—had such racist origins, as the history of American innovation is also the history of capitalist white supremacy. Succession concerns the Roys, a legacy media family whose scion, Kendall, considers himself an innovator. Through Britell’s instrumentals, which are written to reflect Kendall’s ups and downs, we come to understand the score not as a simple, uncritical accompaniment of Succession’s images (as the Vitaphone was for The Jazz Singer) but as an anticapitalist voice of its own, delivering criticisms of Kendall’s avarice and cultural appropriation while still evincing compassion for him as he plunges deeper into addiction. This essay maintains that sound in film, a technology with troubling origins, is now capable of asserting itself apart from that film and thus delivering a dialectical criticism of those very origins.

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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 (December 9, 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” histories that have so often heretofore constructed the jazz tradition. I argue that the notion of intertextuality is particularly useful in mediating questions of essentialism in jazz (racial or otherwise) with considerations of practical competency and an artist’s particular situatedness in that body of texts. Working against positivist taxonomies resultant in definitions of what is/is not jazz, this perspective leaves space for the refiguring work of novelty and experimentation requisite therein. This resonates with Steven B. Elworth’s (1995) claim: “Far from being an unchanging and an easily understood historical field, the jazz tradition is a constantly transforming construction” (58). In my suspicion of linear ideas of history and “progress” (and therefore, telos), I prefer to interrogate and ratify instead the complicated relationship of novelty to tradition. The negotiation of these meta-categories is at the heart of the work improvising musicians do; combining disparate ways of being in the world with musical ideas and practices to create new musico-sociocultural wholes.

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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 (December 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 (December 13, 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 emergent middle-class sensorium. The music's sonic characteristics were frequently called upon to complement the newly sleek visual and tactile experiences – of furniture, fabrics, plastics, the light and space of modern domestic architecture – then coming to define the aspirational bourgeois home; an international modern visual aesthetic was reflected back in jazz album cover art. But to describe experience or ambience represents a challenge to historical method. As much as history proper, then, it's through a kind of experimental criticism of both music and visual culture that this piece attempts to capture the textures and moods that jazz brought to the postwar home.

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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 (January 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, brought about the publication of Emory Elliott's The Columbia Literary History of the United States (1988) and Sacvan Bercovitch's The Cambridge History of American Literature (1994–). I would like to question, however, the discourse that narrates American literary history in the globalist age of the twenty-first century.

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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 (August 16, 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 money worship and epicureanism in America of the so-called “Jazz Age” and reveals people’s selfishness and indifference in the United States during the economic prosperity period after the World War I. Georg Lukács, a Western Marxist theorist, points out in Historical Novel, critical works that “A historical fiction is a story in which history is set among historical events ”. Fitzgerald’s purpose is to show the postwar social life and mental outlook of the Americans in the 1920s and try to arouse people’s introspection and exploration for the value of survival. Since the advent of the novel, it has been the focus of most critics. Among a large number of comments, most focus on the analysis of the text and the subject matter of the novel, as well as the author’s writing techniques. While few have tried to employ Western Marxist criticism to analyze the themes and techniques of the literature perspectives of Georg Lukács. The paper attempts to conduct an analysis of realistic themes, such as impressionism and symbolism in The Great Gatsby from the theory of Western Marxist criticism to reflecting the corruption of people’s value.

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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 novels written by Gavelis: “Vilnius Poker” (Vilniaus Pokeris, 1989), “Memoirs of a Life Cut Short” (Jauno žmogaus memuarai, 1991) and “Vilnius Jazz” (Vilniaus džiazas, 1993), as they depict the same literary vision. Lithuanian authors that are mentioned in these novels include, among others, such significant figures of Lithuanian culture as Vincas Mykolaitis-Putinas (in “Memoirs of a Life Cut Short”), a writer, a poet, and a university professor, or Justinas Marcinkevičius, considered to be „the only one real Lithuanian poet” (in “Vilnius Poker”). The characters of Gavelis’s novels criticize Lithuanian literature for propagating the stereotype of the „Lithuanian spirit” – lyrical, sentimental, experiencing deep emotions but not thinking, soft, introvert and passive, hermetic and closed in its own circle. The authors such as Camus, Kafka, Orwell, Beckett, Russell, Schopenhauer, Nietzsche, and Ortega y Gasset – thinkers, innovators, precursors – add the European context to this picture. Their presence shows us what Gavelis’s characters (and probably Gavelis himself) require from literature. The model claimed as typical for Lithuania does not cover their intellectual needs. It is also considered dangerous because it creates a picture of Lithuanian mentality as soft, submissive and easy to control.

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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 (March 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 to contain high quantities of NSL. Furthermore, the depiction of themes in ego trip tracks can also be considered as a strong determinant of NSL use. Indeed, their tracks often contain adversarial themes and narratives to criticize the competitors and youth slang to appeal to specific audiences.

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10

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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Edwards, Brent Hayes, and John F. Szwed. "A Bibliography of Jazz Poetry Criticism." Callaloo 25, no. 1 (2002): 338–46. http://dx.doi.org/10.1353/cal.2002.0046.

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Chell, Samuel L. "Jazz aesthetics and modern literary criticism." Popular Music and Society 15, no. 3 (September 1991): 67–74. http://dx.doi.org/10.1080/03007769108591444.

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13

McLaren, Joseph. "An Annotated Bibliography of Jazz Fiction and Jazz Fiction Criticism (review)." Research in African Literatures 32, no. 2 (2001): 222–25. http://dx.doi.org/10.1353/ral.2001.0053.

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Davies, Lawrence. "The Victoria Spivey Collection." Journal of Jazz Studies 14, no. 2 (November 6, 2023): 202–28. http://dx.doi.org/10.14713/jjs.v14i2.261.

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This "From the Archives" essay offers a critical contextualisation of the IJS's Victoria Spivey Collection, together with a supplementary bibliography of the singer's jazz criticism in the magazine Record Research and other jazz journals.

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15

Alonso Recarte, Claudia. "Myths of Primitiveness: A Barthean Interpretation of Rhetorical Devices in Early Jazz Criticism." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 195. http://dx.doi.org/10.14198/raei.2013.26.14.

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Ever since jazz began to make an impact in white aesthetic culture in the late 1910s and 1920s, critics, regardless of whether they celebrated or condemned the music, enmeshed their discourse with images of exoticism, noble savageness, and racial brutishness. As Jazz Studies emerged as an academic discipline, scholars have shown increasing interest in exposing these images in order to illustrate the pervading racist sentiment inscribed within white perception of the jazz idiom and also to establish the connections between jazz and the modernist obsession with primitivism. The aim of this paper is to contribute further study to the intricacies of primitivism through a close examination of the rhetorical devices enabling the subsistence and efficiency of the white supremacy’s mystification of jazz. In this way, we may better comprehend how the primitivist construct is not a matter of an ideology’s conglomeration of superficial images, nor of mere associations between the music and rituals. These features are certainly operative, but by approaching the metaliguistic techniques implicit in what Roland Barthes calls the bourgeois myth, jazz primitiveness can be conceived as an act of colonization that begins and is self-nurtured by patterns of speech.

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Sykes, Tom. "“British Jazz History” – fromThe Jazz Site." Jazz Perspectives 5, no. 3 (December 2011): 245–48. http://dx.doi.org/10.1080/17494060.2011.706383.

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Voyer, John J., and Robert R. Faulkner. "Organizational Cognition in a Jazz Ensemble." Empirical Studies of the Arts 7, no. 1 (January 1989): 57–77. http://dx.doi.org/10.2190/khyq-ty6g-x3x9-mj5y.

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The interaction of organizational structure and organizational cognition in a simple professional bureaucracy (a jazz ensemble) is examined using a combination of participant observation and cognitive mapping. The ethnographic results show that the ensemble has distinctive elements of professional bureaucracy and simple structure, but that it is dominated by the simple structure elements of direct supervision (criticism) and leader vision (musical arrangement). The cognitive mapping shows that these last two themes are firmly embedded in the cognitive schema of the ensemble—arrangement is the most potent causal variable in the schema, and criticism is the variable which drives the deviation-counteracting (negative feedback) loops of the schema. But the professional bureaucratic notion of member skills is also potent in the cognitive schema, and there were some unexpected results concerning the potency of satisfaction and performance quality, both of which are leading outcomes in the schema. Some implications for the management and study of such organizations are discussed.

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Hagedorn, Hans Christian. "Don Quijote en el jazz francés." Çédille, no. 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.

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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.

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Gracyk, Theodore. "Jazz After Jazz : Ken Burns and the Construction of Jazz History." Philosophy and Literature 26, no. 1 (2002): 173–87. http://dx.doi.org/10.1353/phl.2002.0011.

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Welburn, Ron. "James Reese Europe and the Infancy of Jazz Criticism." Black Music Research Journal 7 (1987): 35. http://dx.doi.org/10.2307/779447.

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Porter, E. "Jazz." Journal of American History 97, no. 4 (March 1, 2011): 1143–44. http://dx.doi.org/10.1093/jahist/jaq004.

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Polzonetti, Pierpaolo. "Jazz Places: How Performance Spaces Shape Jazz History." American Music 40, no. 2 (July 1, 2022): 275–79. http://dx.doi.org/10.5406/19452349.40.2.06.

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Lie, Siv B. "Genre, Ethnoracial Alterity, and the Genesis of jazz manouche." Journal of the American Musicological Society 72, no. 3 (2019): 665–718. http://dx.doi.org/10.1525/jams.2019.72.3.665.

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Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character of this music, giving rise to the “jazz manouche” label as a cornerstone of both socially conscious and profit-generating strategies. Drawing on analysis of published criticism, archival research, and interviews, I argue that ethnoracial and generic categories can develop symbiotically, each informing and reflecting ideologies about cultural identity and its sonic expressions. Jazz manouche grew out of essentializing notions about Manouche identity, while Manouches have been racialized through reductive narratives about jazz manouche. In this case, an investigation of genre formation can inform understandings of ethnoracial identity and national belonging.

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Sanchirico, Andrew. "Is Conventional Jazz History Distorted by Myths?" Journal of Jazz Studies 8, no. 1 (July 17, 2012): 55. http://dx.doi.org/10.14713/jjs.v8i1.30.

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<p>A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.</p>

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Muyumba, Walton. "Artists in Residence." liquid blackness 5, no. 2 (October 1, 2021): 21–37. http://dx.doi.org/10.1215/26923874-9272752.

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Abstract Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.

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Boornazian, Josiah. "Topics vs. Timelines: Restructuring Jazz History Curricula for Today's Classroom." Jazz Education in Research and Practice 5, no. 1 (January 2024): 72–84. http://dx.doi.org/10.2979/jazzeducrese.5.1.06.

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Abstract: Jazz history unfolded chronologically, but chronology does not necessarily imply teleology or causality. In other words, the fact that certain jazz styles came after others does not unquestionably mean that jazz history followed a fixed course dictated by the perceived inevitability of artistic "progress." Although it is important for jazz history students to have a foundational understanding of jazz history in a chronological fashion, presenting history on a straightforward, simplistic timeline defined by distinct style periods is not the only way to teach the music of the past. There may be significant merit in reorganizing the way jazz history is sometimes presented. Musicians, albums, and style movements could be grouped together and studied according to thematically broad abstract topics to stimulate student engagement, independent thinking, and impassioned discussion. Examples include organizing jazz history curricula into nonsequential subjects such as jazz and politics, jazz and gender, jazz and racial identity, jazz and economics, jazz and the government, jazz and authenticity, and jazz and technology.

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Owens, Tom, Lewis Porter, Roger East, and Jim Donofrio. "Jazz: A Multimedia History." Notes 50, no. 3 (March 1994): 1050. http://dx.doi.org/10.2307/898591.

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Bindas, Kenneth J., and Ted Gioia. "The History of Jazz." Journal of American History 87, no. 1 (June 2000): 265. http://dx.doi.org/10.2307/2568011.

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Gitler, Ira. "The History of Jazz." International Jazz Archive Journal 02, no. 4 (October 1, 2004): 82–102. http://dx.doi.org/10.2307/44758092.

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Suwannabhum, Tayakorn, and Kyle Fyr. "Jazz History in Thailand: From Profession to Music Education." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 83–92. http://dx.doi.org/10.30819/aemr.9-6.

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This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.

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Welburn, Ron. "Duke Ellington's Music: The Catalyst for a True Jazz Criticism." International Review of the Aesthetics and Sociology of Music 17, no. 1 (June 1986): 111. http://dx.doi.org/10.2307/836626.

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McLaren, Joseph. "REVIEW: Richard N. Albert.AN ANNOTATED BIBLIOGRAPHY OF JAZZ FICTION AND JAZZ FICTION CRITICISM, comp. Westport: Greenwood, 1996." Research in African Literatures 32, no. 2 (June 2001): 222–25. http://dx.doi.org/10.2979/ral.2001.32.2.222.

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Jabouin, Emilie. "Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s." Canadian Journal of History 56, no. 3 (December 1, 2021): 229–65. http://dx.doi.org/10.3138/cjh.56-3-2021-0030.

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The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.

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Piatkowski, Dionizy. "From a Jazz Perspective — A History of Jazz in Poland." International Jazz Archive Journal 02, no. 1 (October 1, 1998): 49–58. http://dx.doi.org/10.2307/44758054.

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Packard, Hyland, and Kathy J. Ogren. "The Jazz Revolution: Twenties America and the Meaning of Jazz." Journal of Southern History 56, no. 4 (November 1990): 778. http://dx.doi.org/10.2307/2210975.

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Post, Robert C., and Ted Gioia. "West Coast Jazz: Modern Jazz in California, 1945-1960." Journal of American History 80, no. 4 (March 1994): 1528. http://dx.doi.org/10.2307/2080727.

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Morgenstern, Dan. "The History of Jazz Music." International Jazz Archive Journal 02, no. 2 (October 1, 1999): 21–35. http://dx.doi.org/10.2307/44747477.

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Gabbard, Krin. "The Jazz Ambassadors." Journal of American History 105, no. 3 (December 1, 2018): 776–78. http://dx.doi.org/10.1093/jahist/jay437.

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Goldberg, David J., and Michael Alexander. "Jazz Age Jews." Journal of American History 89, no. 3 (December 2002): 1102. http://dx.doi.org/10.2307/3092452.

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White, John, and Kathy J. Ogren. "The Jazz Revolution: Twenties America & the Meaning of Jazz." Journal of American History 77, no. 1 (June 1990): 340. http://dx.doi.org/10.2307/2078747.

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Peretti, Burton W., and Scott Alexander. "The Red Hot Jazz Archive: A History of Jazz before 1930." Journal of American History 89, no. 3 (December 2002): 1181. http://dx.doi.org/10.2307/3092532.

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Royer, Shawn L. "David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University." Journal of Historical Research in Music Education 43, no. 2 (March 8, 2022): 142–61. http://dx.doi.org/10.1177/15366006221081885.

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In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the transition from bebop and cool jazz through the development of hard bop, modal jazz, and Third Stream. Finally, it captures the tumultuous Civil Rights Movement of the 1950s and 1960s which coincided with IU’s hiring of David Baker and the school’s decision to begin to include jazz courses in its curricular offerings. This examination concludes with a discussion of relevant implications for jazz and music education.

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Raeburn, Bruce Boyd, and Burton W. Peretti. "Jazz in American Culture." Journal of Southern History 64, no. 3 (August 1998): 583. http://dx.doi.org/10.2307/2587849.

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Jackson, J. H. "Making Jazz French: The Reception of Jazz Music in Paris, 1927-1934." French Historical Studies 25, no. 1 (January 1, 2002): 149–70. http://dx.doi.org/10.1215/00161071-25-1-149.

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GUERPIN, MARTIN. "From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’." Journal of the Royal Musical Association 147, no. 2 (November 2022): 582–94. http://dx.doi.org/10.1017/rma.2022.27.

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‘Hot clubs’ proliferated all over Europe and the United States during the 1930s. For a brief period (1935–6), they joined forces in an International Federation of Hot Clubs (IFHC), the main purpose of which was to link together devotees in search of American hot jazz recordings at a time when they were difficult to find and buy in Europe, since that sub-genre was less popular and commercially successful than what was then called ‘straight’ jazz. The expression ‘hot jazz’ was coined by jazz musicians at the end of the 1920s and referred to a style based on performance and improvisation rather than on the composition and performance of written parts. A founder of the Hot Club de France (HCF) in 1932, the French jazz critic Hugues Panassié was the first to establish a hierarchy between these two styles:

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Cosper, David. "Sweet Science, Sweet Thunder: Jazz, Pugilism, and the Fine Art of Criticism." Jazz Perspectives 13, no. 1 (January 2, 2021): 53–91. http://dx.doi.org/10.1080/17494060.2021.1895868.

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Gillis, Delia C. "American Jazz Museum." Public Historian 27, no. 4 (2005): 107–11. http://dx.doi.org/10.1525/tph.2005.27.4.107.

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Stevens, Peter. "Jazz Canada 1986." Journal of Canadian Studies 22, no. 1 (February 1987): 129–35. http://dx.doi.org/10.3138/jcs.22.1.129.

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Porter, Eric. "Jazz and Revival." American Quarterly 61, no. 3 (September 2009): 593–613. http://dx.doi.org/10.1353/aq.2009.a317256.

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Harrison, Daphne Duval, and Kathy J. Ogren. "The Jazz Revolution: Twenties America and the Meaning of Jazz." American Historical Review 96, no. 1 (February 1991): 277. http://dx.doi.org/10.2307/2164236.

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