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Journal articles on the topic 'New orleans jazz fest'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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1

Hobson, Vic. "New Orleans Jazz and the Blues." Jazz Perspectives 5, no. 1 (April 2011): 3–27. http://dx.doi.org/10.1080/17494060.2011.590676.

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2

Robertson, Clyde C. "New Orleans Jazz in the World." Journal of African American History 103, no. 4 (September 2018): 664–74. http://dx.doi.org/10.1086/699960.

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3

Ainsworth, Alan John. "Early New Orleans band photography." Jazz Research Journal 11, no. 1 (July 7, 2017): 28–61. http://dx.doi.org/10.1558/jazz.33607.

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4

Bender, Eve. "Local Musicians Jazz Up New Orleans Institute." Psychiatric News 42, no. 22 (November 16, 2007): 4. http://dx.doi.org/10.1176/pn.42.22.0004a.

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5

Miller, Shani. "New Orleans Jazz & Heritage Foundation Archive." Music Reference Services Quarterly 22, no. 1-2 (April 3, 2019): 80–85. http://dx.doi.org/10.1080/10588167.2019.1606181.

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6

Traynor, Kate. "Festival atmosphere prevails in New Orleans during Vax Fest." American Journal of Health-System Pharmacy 78, no. 13 (May 6, 2021): 1160–62. http://dx.doi.org/10.1093/ajhp/zxab188.

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7

Carney, Court. "New Orleans and the Creation of Early Jazz." Popular Music and Society 29, no. 3 (July 2006): 299–315. http://dx.doi.org/10.1080/03007760600670331.

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8

Veillon, Joshua, Juliette W. Ioup, and Michael White. "Signal analysis of New Orleans jazz clarinet sounds." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2605. http://dx.doi.org/10.1121/1.5014533.

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9

Kalifa, Dominique, and Ludovic Tournes. "New Orleans sur Seine. Histoire du jazz en France." Vingtième Siècle. Revue d'histoire, no. 71 (July 2001): 139. http://dx.doi.org/10.2307/3772556.

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10

Goetschel, Pascale, and Ludovic Tournes. "New Orleans sur Seine. Histoire du jazz en France." Le Mouvement social, no. 200 (July 2002): 208. http://dx.doi.org/10.2307/3779836.

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11

Kein, Sybil. "The Celebration of Life in New Orleans Jazz Funerals." Revue Française d'Etudes Américaines 51, no. 1 (1992): 19–26. http://dx.doi.org/10.3406/rfea.1992.1448.

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12

George, Courtney. "Keeping It “Reals”." Television & New Media 13, no. 3 (October 24, 2011): 225–34. http://dx.doi.org/10.1177/1527476411423674.

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This article argues that David Simon’s HBO series Treme engages with scholarly debates about the historical narratives of the New Orleans jazz tradition by suggesting that there is not one authentic narrative but instead many conflicting narratives. Through the characters of Antoine Batiste, Delmond Lambreaux, Davis McAlary, and Sonny and Annie, Treme questions how race and class segregation and the outsider tourist consumption of New Orleans music have affected the production and perceptions of jazz. Through these complex depictions that are both fictionalized and historicized, I argue that Treme meditates on the overall nature of authenticity as both pluralistic and subjective, while creating television performances that offer meaningful commentary about social and political narratives in post-Katrina New Orleans.
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13

Kunian, David. "The Louisiana State Museum Music Collection Oral Histories: Digitization, Preservation, and Use." Collections: A Journal for Museum and Archives Professionals 13, no. 2 (June 2017): 115–22. http://dx.doi.org/10.1177/155019061701300206.

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The Louisiana State Museum, a statewide network of National Historic Landmarks, architecturally significant structures, and half a million artifacts, has a robust collection of oral histories with New Orleans jazz originators, revival figures, and other New Orleans and Louisiana musicians. This collection of oral histories consists of more than 300 interviews in the following formats: reel-to-reel and cassette tapes, digital audiotape, videotape, CD and DVD, and assorted digital file formats, such as WAV, MP3, and MP4. This article examines the range of the Music Collection, explains its value, and makes the case for digitization and preservation. Finally, the article provides examples of use in on-site exhibitions as well as online dissemination through the New Orleans Jazz Museum.
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14

Hobson. "Historically Informed Jazz Pedagogy: New Orleans Counterpoint and Barbershop Harmony." Jazz Education in Research and Practice 1, no. 1 (2020): 155. http://dx.doi.org/10.2979/jazzeducrese.1.1.11.

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15

do Nascimento Cesar, Rafael. "Cariocas de New Orleans: Brazilian Interpretations of North American Jazz." Latin American Music Review 42, no. 2 (December 2021): 226–52. http://dx.doi.org/10.7560/lamr42204.

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16

McKee, Sally. "Southern Comfort: The Slow Rise of New Orleans’ Jazz Tourism." Revue française d’études américaines N° 168, no. 3 (September 27, 2021): 64–75. http://dx.doi.org/10.3917/rfea.168.0064.

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17

Regis, Helen A. "Producing Africa at the New Orleans Jazz & Heritage Festival." African Arts 46, no. 2 (June 2013): 70–85. http://dx.doi.org/10.1162/afar_a_00067.

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18

Peretti, Burton. "New Orleans Style and the Writing of American Jazz History." Jazz Perspectives 4, no. 3 (December 2010): 369–72. http://dx.doi.org/10.1080/17494060.2010.561095.

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19

Carney, C. "New Orleans Style and the Writing of American Jazz History." Journal of American History 97, no. 4 (March 1, 2011): 1144–45. http://dx.doi.org/10.1093/jahist/jaq055.

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20

Marian Gray Secundy. "Coping with Words and Song: The New Orleans Jazz Funeral." Literature and Medicine 8, no. 1 (1989): 100–105. http://dx.doi.org/10.1353/lm.2011.0087.

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21

Wang, Richard. "Researching the New Orleans-Chicago Jazz Connection: Tools and Methods." Black Music Research Journal 8, no. 1 (1988): 101. http://dx.doi.org/10.2307/779505.

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22

Johnson, Jerah. "Jim Crow laws of the 1890s and the origins of New Orleans jazz: correction of an error." Popular Music 19, no. 2 (April 2000): 243–51. http://dx.doi.org/10.1017/s0261143000000143.

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A seriously misleading error has crept into almost all the literature on the origins of New Orleans jazz. The error mistakenly attributes to the Jim Crow laws of the 1890s a significant role in the formation of the city's jazz tradition.Jazz historians have done a reasonably good job of depicting the two black communities that existed in new Orleans from the time of the Louisiana Purchase in 1803 until the twentieth century. One community comprised a French-speaking Catholic group who lived mostly in downtown New Orleans, i.e. the area of the city down-river from Canal Street. Before the Civil War this group, commonly called Creoles, or Black Creoles, but more accurately called Franco-Africans, comprised free people of colour as well as slaves, and after the war consisted of their descendants who perpetuated the group's language, religion and musical tradition, which combined French, African and Caribbean elements.Members of the other black community were English-speaking Protestants who lived mostly in uptown new Orleans. That group, before the Civil War, was made up largely of slaves brought to New Orleans by Americans who flooded into Louisiana after the 1803 Purchase, though it also included some free people of colour. After the war, the descendants of these immigrants continued their language, religion and musical tradition, which came mostly from the rural South. There Anglo-Africans were generally less prosperous and less educated than the downtown Franco-African or Creole community.
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23

Regis, Helen A., and Shana Walton. "Producing the Folk at the New Orleans Jazz and Heritage Festival." Journal of American Folklore 121, no. 482 (October 1, 2008): 400. http://dx.doi.org/10.2307/20487627.

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24

Raeburn, Bruce Boyd. "Italian Americans in New Orleans Jazz: Bel Canto Meets the Funk." Italian American Review 4, no. 2 (July 1, 2014): 87–108. http://dx.doi.org/10.5406/italamerrevi.4.2.0087.

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25

Berlin, Charles I. "New Orleans as the Home of Scientific Jazz From 1967-2002." Journal of the American Academy of Audiology 14, no. 06 (June 2003): 283–84. http://dx.doi.org/10.1055/s-0040-1715742.

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26

White, M. G. "Reflections of an Authentic Jazz Life in Pre-Katrina New Orleans." Journal of American History 94, no. 3 (December 1, 2007): 820–27. http://dx.doi.org/10.2307/25095144.

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27

McDowell, Peggy. "Roots of American Jazz: African Musical Instruments from New Orleans Collections." African Arts 29, no. 4 (1996): 75. http://dx.doi.org/10.2307/3337401.

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28

Helen A. Regis and Shana Walton. "Producing the Folk at the New Orleans Jazz and Heritage Festival." Journal of American Folklore 121, no. 482 (2008): 400–440. http://dx.doi.org/10.1353/jaf.0.0029.

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29

White, Michael. "The Clarinet in Early New Orleans Jazz: Style, Tone and Function." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2528. http://dx.doi.org/10.1121/1.5014241.

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30

Anderson, Iain. ":Subversive Sounds: Race and the Birth of Jazz in New Orleans." American Historical Review 113, no. 5 (December 2008): 1555–56. http://dx.doi.org/10.1086/ahr.113.5.1555a.

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31

Lehmann, Christine. ". . . And All That Jazz: The Music New Orleans Gave the World." Psychiatric News 36, no. 4 (February 16, 2001): 39. http://dx.doi.org/10.1176/pn.36.4.0039a.

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32

Gebhardt, Nicholas. "Living with music: Departures and returns among early New Orleans jazz musicians." Jazz Research Journal 13, no. 1-2 (October 13, 2019): 270–82. http://dx.doi.org/10.1558/jazz.39941.

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33

Suresh, Santhanam. "Preparing to Jazz It Up in New Orleans at ANESTHESIOLOGY® 2022." ASA Monitor 86, no. 4 (April 1, 2022): 19. http://dx.doi.org/10.1097/01.asm.0000826956.06372.e4.

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34

Havens, Daniel F. "Up the river from new Orleans: The Jazz Odyssey—Myth or truth?" Popular Music and Society 11, no. 4 (December 1987): 61–74. http://dx.doi.org/10.1080/03007768708591297.

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35

Turner, Richard Brent. "Jazz, The Second Line, and African American Religious Internationalism in New Orleans." Souls 16, no. 1-2 (January 2014): 69–78. http://dx.doi.org/10.1080/10999949.2014.931076.

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36

Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (October 2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.
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37

Darroch, Michael. "New Orleans in Montréal : The Cradle of Jazz in the City of Festivals." Géocarrefour 78, no. 2 (April 1, 2003): 129–37. http://dx.doi.org/10.4000/geocarrefour.212.

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38

Thomas Aiello. "Sambo's Boys: The Rise and Fall of the New Orleans Jazz, 1974–79." Journal of Sport History 45, no. 3 (2018): 277. http://dx.doi.org/10.5406/jsporthistory.45.3.0277.

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39

Radano, Ronald M., and Jason Berry. "Up from the Cradle of Jazz: New Orleans Music since World War II." American Historical Review 93, no. 2 (April 1988): 526. http://dx.doi.org/10.2307/1860109.

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40

Yarnal, Brent. "Vulnerability and all that jazz: Addressing vulnerability in New Orleans after Hurricane Katrina." Technology in Society 29, no. 2 (April 2007): 249–55. http://dx.doi.org/10.1016/j.techsoc.2007.01.011.

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41

Oliver, Paul. "That certain feeling: blues and jazz … in 1890?" Popular Music 10, no. 1 (January 1991): 11–19. http://dx.doi.org/10.1017/s0261143000004281.

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‘And this, after all, we do know with certainty: that in the 1880s in and around New Orleans and in other parts of the South, they were beginning to play the music we call jazz.’ So wrote Barry Ulanov who was convinced that jazz ‘reached back to the twelve bar form of the folk tune … and evolved that most durable and most thoroughly adaptable of jazz forms, the blues’. Picked out by ‘men and women in the backwoods and the front parlors making the delicate little changes, insisting upon the famous “blue notes”’, it took shape ‘long before the famous early names of jazz – before Buddy Bolden and Freddie Keppard and Papa Laine’ (Ulanov 1958a, p. 17). Ulanov was writing in 1957, more than thirty years closer to the origins of jazz, when a number of the veteran musicians of the first and second generations were still living. His ‘certainty’ implied that the blues was the wellspring of jazz from which it drew its inspiration and its improvisation.
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42

Zagala, Mathilde. "Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues by Vic Hobson. 2014." Journal of World Popular Music 7, no. 1 (June 18, 2020): 104–9. http://dx.doi.org/10.1558/jwpm.40968.

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43

Martinelli, Francesco. "Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra." Italian American Review 8, no. 2 (July 1, 2018): 203–6. http://dx.doi.org/10.5406/italamerrevi.8.2.0203.

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44

Turley, Alan C. "The Ecological and Social Determinants of the Production of Dixieland Jazz in New Orleans." International Review of the Aesthetics and Sociology of Music 26, no. 1 (June 1995): 107. http://dx.doi.org/10.2307/836968.

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45

Ellison, Mary. "Dr Michael White and New Orleans Jazz: Pushing back Boundaries while Maintaining the Tradition." Popular Music and Society 28, no. 5 (December 2005): 619–38. http://dx.doi.org/10.1080/03007760500142639.

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46

Brian Harker. "Subversive Sounds: Race and the Birth of Jazz in New Orleans (review)." Notes 65, no. 4 (2009): 772–74. http://dx.doi.org/10.1353/not.0.0155.

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47

Bonsaver, Guido. "Jazz Italian Style: From Its Origins in New Orleans to Fascist Italy and Sinatra." Italian Culture 36, no. 2 (June 26, 2018): 150–52. http://dx.doi.org/10.1080/01614622.2018.1480452.

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48

Schwartz, Jeff. "Bill Russell and the New Orleans Jazz Revival by Ray Smith and Mike Pointon." Notes 76, no. 3 (2020): 468–70. http://dx.doi.org/10.1353/not.2020.0021.

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49

Wilkinson, Christopher. "The Influence of West African Pedagogy upon the Education of New Orleans Jazz Musicians." Black Music Research Journal 14, no. 1 (1994): 25. http://dx.doi.org/10.2307/779457.

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50

Wiggins, Jackie, and Taslimah Bey. "Music Learning as Life in an African American Family: The Story of Charlie Gabriel in New Orleans." Journal of Historical Research in Music Education 43, no. 2 (March 9, 2022): 115–41. http://dx.doi.org/10.1177/15366006221083707.

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The focus of this study is the early music education of Charlie Gabriel who learned to play jazz as a child in New Orleans and went on to enjoy a successful, international performance career. The work is based on an oral history account where the primary data collection process was interview. The key issues that emerged from the oral history are (1) the ubiquitous presence of music in Mr. Gabriel’s life experience and the musical enculturation this presence enabled, (2) the life-sustaining role of music in the lives of family members, which gave rise to a drive to participate actively in music and a pervasive striving for musical excellence, and (3) ever-present mentorship and apprenticeship in Mr. Gabriel’s home and in the musical community. These issues are discussed in the context of related literature on the roles played by musical families; the musical community; music for income/supporting survival, including federal support during the Great Depression; striving for musical excellence in both informal and formal learning contexts; and African roots of early jazz pedagogy
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