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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 (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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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 t

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3

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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5

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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7

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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8

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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9

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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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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11

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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12

Chell, Samuel L. "Jazz aesthetics and modern literary criticism." Popular Music and Society 15, no. 3 (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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14

Davies, Lawrence. "The Victoria Spivey Collection." Journal of Jazz Studies 14, no. 2 (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

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16

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

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17

Voyer, John J., and Robert R. Faulkner. "Organizational Cognition in a Jazz Ensemble." Empirical Studies of the Arts 7, no. 1 (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

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18

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

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19

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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20

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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21

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

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22

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

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23

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

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24

Sanchirico, Andrew. "Is Conventional Jazz History Distorted by Myths?" Journal of Jazz Studies 8, no. 1 (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’

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25

Muyumba, Walton. "Artists in Residence." liquid blackness 5, no. 2 (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 betwee

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26

Boornazian, Josiah. "Topics vs. Timelines: Restructuring Jazz History Curricula for Today's Classroom." Jazz Education in Research and Practice 5, no. 1 (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. The

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27

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

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28

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

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29

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

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30

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 ente

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31

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 (1986): 111. http://dx.doi.org/10.2307/836626.

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32

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 (2001): 222–25. http://dx.doi.org/10.2979/ral.2001.32.2.222.

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33

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 (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

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34

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

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35

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

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36

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

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37

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

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38

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

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39

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

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40

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

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41

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

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42

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 (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

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43

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

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44

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

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45

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 (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 t

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46

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

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47

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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48

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

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49

Porter, Eric. "Jazz and Revival." American Quarterly 61, no. 3 (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 (1991): 277. http://dx.doi.org/10.2307/2164236.

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