Journal of Jazz Studies最新文献_第3页

Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs” 爵士乐世界的互文性与意义建构——以乔·法雷尔的《月亮病菌》为例

Journal of Jazz Studies Pub Date : 2019-12-09 DOI: 10.14713/jjs.v12i1.117

A. Kluth

{"title":"Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”","authors":"A. Kluth","doi":"10.14713/jjs.v12i1.117","DOIUrl":"https://doi.org/10.14713/jjs.v12i1.117","url":null,"abstract":"(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.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133715103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

"Spirits Rejoice!: Jazz and American Religion" by Jason C. Bivins “灵喜乐!《爵士与美国宗教》作者:杰森·c·拜文斯

Journal of Jazz Studies Pub Date : 2018-03-29 DOI: 10.14713/JJS.V11I2.114

B. Shelley

引用次数: 0

"Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen" by Sherrie Tucker 《舞池民主:好莱坞食堂记忆的社会地理》，作者:雪莉·塔克

Journal of Jazz Studies Pub Date : 2018-03-29 DOI: 10.14713/JJS.V11I2.115

Hannah Mackenzie-Margulies

引用次数: 0

Flamenco Jazz: an Analytical Study 弗拉门戈爵士:一项分析研究

Journal of Jazz Studies Pub Date : 2018-03-29 DOI: 10.14713/JJS.V11I2.113

Peter Manuel

{"title":"Flamenco Jazz: an Analytical Study","authors":"Peter Manuel","doi":"10.14713/JJS.V11I2.113","DOIUrl":"https://doi.org/10.14713/JJS.V11I2.113","url":null,"abstract":"Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. The Spanish jazz scene has been documented in a handful of publications (e.g., García Martínez 1996), a few authors have written on socio-musical aspects of the flamenco jazz scene (Iglesias 2005; Germán Herrero 1991; Lag-López 2006; Salinas Rodríguez 1994; Steingress 2004), and certain sorts of information regarding leading flamenco jazz performers are of course available on the internet. However, nothing has been published on flamenco jazz in the way of formal analytical studies except for two useful articles by Juan Zagalaz (2012a and 2012b) regarding the early fusion music of Jorge Pardo. The present article does not attempt to provide an ethnography of the flamenco jazz scene nor a historical survey of the genre replete with obligatory names and dates. Rather, it aims to","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127613880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” 走近爵士的过去:MOPDTK的Blue和Jason Moran的“In My Mind: Monk at Town Hall, 1959”

Journal of Jazz Studies Pub Date : 2018-03-29 DOI: 10.14713/jjs.v11i2.112

Tracy M McMullen

引用次数: 2

Circular Thinking: A Roundtable on "Blue in Green" and "Nefertiti" 循环思维:“绿中之蓝”与“纳芙蒂蒂”圆桌会议

Journal of Jazz Studies Pub Date : 2016-11-19 DOI: 10.14713/JJS.V11I1.111

K. Waters, H. Martin, S. Larson, Steven Strunk

引用次数: 3

Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study 标准爵士曲目中的乐句节奏:分类与语料库研究

Journal of Jazz Studies Pub Date : 2016-11-19 DOI: 10.14713/JJS.V11I1.107

Keith Salley, D. Shanahan