Jazz Perspectives最新文献

{"title":"The Shitposting of Jazz to Come: Virtual Communities, Internetworks, and the Dank Jazz Meme","authors":"Liam Gesoff","doi":"10.1080/17494060.2023.2283219","DOIUrl":"https://doi.org/10.1080/17494060.2023.2283219","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003880","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}

{"title":"Free Improvisation, Egalitarianism, and Knowledge","authors":"Ritwik Banerji","doi":"10.1080/17494060.2023.2249411","DOIUrl":"https://doi.org/10.1080/17494060.2023.2249411","url":null,"abstract":"ABSTRACTWhile numerous scholars and performers of free improvisation have noted that egalitarianism structures social interactions between participants of this musical practice, they have largely treated this concept as self-explanatory. Drawing on ethnographic participant observation I conducted in Berlin, Chicago, and San Francisco between 2008 and 2016, this article examines how egalitarianism generates several patterns of social interaction in habits of talk, embodied behavior, and musical sound. Conceptualizing egalitarianism as freedom from social and aesthetic hierarchy, I argue that participants of these scenes pursue egalitarianism through an array of behaviors that prevent other individuals from knowing what they prefer, intend, understand, and value in the practice of free improvisation. Preventing others from accessing these kinds of knowledge places each participant on an equal plane of unawareness which in turn allows them to experience creative freedom. More broadly, then, this article outlines how free improvisation is based in a concept of freedom in which the negation, rather than the accrual, of knowledge leads to greater experiences of personal liberty.KEYWORDS: improvisationfreedomegalitarianismknowledge Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Jason Stanyek, “Articulating Intercultural Free Improvisation: Evan Parker’s Synergetics Project,” Resonance 7, no. 2 (1999): 44–7; David W. Bernstein, “‘Listening to the Sounds of the People’: Frederic Rzewski and Musica Elettronica Viva (1966–1972),” Contemporary Music Review 29, no. 6 (2010): 535–50; Barbara Rose Lange, “Teaching the Ethics of Free Improvisation,” Critical Studies in Improvisation/Études Critiques en Improvisation 7, no. 2 (2011): 1–11; Maud Hickey, “Learning from the Experts: A Study of Free-Improvisation Pedagogues in University Settings,” Journal of Research in Music Education 62, no. 4 (2015): 425–45.2 Burkhard Beins et al., eds., Echtzeitmusik berlin: selbstbestimmung einer szene / self-defining a scene (Hofheim: Wolke Verlag, 2011).3 David Borgo, “Synergy and Surrealestate: The Orderly Disorder of Free Improvisation,” Pacific Review of Ethnomusicology 10, no. 1 (2002): 1–24.4 See Christopher Boehm, “Egalitarian Behavior and Reverse Dominance Hierarchy,” Current Anthropology 34, no. 3 (1993): 227–54.5 Lange, “Teaching the Ethics of Free Improvisation”; Hickey, “Free-Improvisation Pedagogues.”6 Tom Arthurs, “Improvised Music in Berlin 2012–13: A Brief Ethnographic Portrait,” Critical Studies in Improvisation/Études Critiques en Improvisation 10, no. 2 (2015): n. 57.7 In terms of dates, I conducted fieldwork in Berlin during May of 2010, summer of 2012, and from fall of 2014 to summer 2016; Chicago from spring 2008 to summer 2010; and the San Francisco Bay Area free improvisation scene from fall 2010 to summer 2014.8 Dana Gooley, Fantasies of Improvisation: Free Playing in Nineteenth-Century Music (New York: Oxfor","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135784698","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}

{"title":"Fusion – Locating Artistic Hybridity in Miles Davis’ “Spanish Key”","authors":"J. Balzarano","doi":"10.1080/17494060.2023.2233888","DOIUrl":"https://doi.org/10.1080/17494060.2023.2233888","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47223225","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}

{"title":"The Gathering Ground: Composing Collaboration in Nyilipidgi, a Dynamic Meeting of manikay and jazz","authors":"Jeremy Rose, Samuel Curkpatrick","doi":"10.1080/17494060.2023.2173634","DOIUrl":"https://doi.org/10.1080/17494060.2023.2173634","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47464279","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}

{"title":"Anatomy of Groove: Pulse, Pattern, and Process in Keith Jarrett’s Sun Bear Concerts","authors":"C. Morrison","doi":"10.1080/17494060.2022.2030783","DOIUrl":"https://doi.org/10.1080/17494060.2022.2030783","url":null,"abstract":"ABSTRACT Keith Jarrett’s Sun Bear Concerts, performed in Japan in 1976, consists of five concerts of improvised music, each concert boasting two Parts that traverse multiple distinct styles, from blues to ballad, romantic lyricism to frenetic atonality, and minimalism to lilting groove, the latter being the style most often associated with Jarrett. But that style has also been criticized for its apparent uneventful repetitiveness. This paper attempts to demonstrate that, while the groove sections may be categorized under the broad umbrella of “groove” style, each of Jarrett’s grooves is unique, musically nuanced, and creatively structured. After summarizing the concept of groove as defined in the recent literature, the paper introduces the four-phase “anatomy” of groove—the musical techniques by which Jarrett gets to the groove, gets in the groove, plays in the groove, and then gets out of the groove. Each phase of the groove process is exemplified with reference to the five concerts; the final part of the paper consists of more detailed analyses of the entire four-phase groove processes in Part (movement) I of the Kyoto concert, the first of the Sun Bear Concerts.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41789535","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}

{"title":"Uncovering the Origin Story of Juan Tizol’s Caravan: A Predecessor","authors":"H. Krall","doi":"10.1080/17494060.2022.2104912","DOIUrl":"https://doi.org/10.1080/17494060.2022.2104912","url":null,"abstract":"ABSTRACT Caravan is a popular jazz standard that is recorded frequently. The first recording of Caravan by Barney Bigard and his Jazzopators from December 19, 1936, credits Juan Tizol as the sole composer. However later recordings give credit to both Duke Ellington and Tizol as the composers and his manager, Irving Mills, as the lyricist. Because Ellington and Mills commonly used the band members’ ideas and compositions, it is perhaps easy to assume that the conception of Caravan follows a similar narrative. Despite Tizol’s insistence on compositional independence, trumpeter Rex Stewart contends that Caravan’s melody “evolved from another tune, Alabamy Home,” which is credited to Ellington. And indeed Alabamy Home and Caravan are quite similar in melody, harmony, and exotic affect. Inconsistent information in Stewart’s account and the fact that the first recording of Caravan was made three months before the Gotham Stompers had recorded Alabamy Home initially complicate Stewart’s assertion. However, a trombone part from the Ellington archive at the Smithsonian Institution for Alabamy Home, dated between 1926 and 1928, indicates that Alabamy Home was written first. I suggest that Tizol refined the exoticism of Alabamy Home, originally devised for the Cotton Club, to create Caravan, the most famous of his self-proclaimed “Spanish melodies.” I trace the back-and-forth musical exchange between Caravan and Alabamy Home through four manuscripts and five recordings dated between 1926 and 1937. By doing so, I explore the irregular case of these two pieces connected by their shared melody, harmony, and affect, but with differing levels of success in the Duke Ellington songbook.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41391667","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}

{"title":"Latin Jazz: The Other Jazz","authors":"R. Stucky","doi":"10.1080/17494060.2022.2078422","DOIUrl":"https://doi.org/10.1080/17494060.2022.2078422","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45714540","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}

{"title":"Nick LaRocca Vs. “Jelly Roll” Morton: Notions of Authorship in the “Tiger Rag” Controversy","authors":"Josiah Boornazian","doi":"10.1080/17494060.2022.2029753","DOIUrl":"https://doi.org/10.1080/17494060.2022.2029753","url":null,"abstract":"ABSTRACT Pianist and composer Ferdinand “Jelly Roll” Morton and Original Dixieland Jazz Band cornetist Dominic “Nick” LaRocca epitomize the intersection of some of the most hotly debated topics in jazz historiography and mainstream jazz culture: musical authorship and historical accuracy. The dispute between Morton and LaRocca over the provenance of the classic early jazz composition “Tiger Rag” and the related controversies surrounding claims made by Morton during his Library of Congress interviews with folklorist Alan Lomax are revealing case studies in this regard. While examining the “Tiger Rag” authorship debates, this article discusses evolving and competing notions of authorship in jazz culture and scholarship and seeks to illuminate both the difficulties involved in determining authorial attribution for disputed early jazz compositions and the ways in which traditional single-author paradigms are perhaps less suited to aspects of early jazz practice than distributed and communal authorship.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46769441","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}

{"title":"Thinking Telematically: Improvising Music Worlds Under COVID and Beyond","authors":"Michael Dessen","doi":"10.1080/17494060.2022.2078430","DOIUrl":"https://doi.org/10.1080/17494060.2022.2078430","url":null,"abstract":"ABSTRACT The COVID-19 pandemic lockdown brought much attention to live music making via the internet, amplifying the previously marginal fields of livestream concertizing and networked music performance. Drawing connections among recent publications, artists’ creative strategies, and his own experiences, the author surveys questions about musical telepresence that arose in this process, including reflections on the nature of musical liveness in an increasingly digital industry, the creative potentials of networked music making, and the value of “thinking telematically” about cultural production and social change.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334200","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}

{"title":"Miles Davis, “Ko Ko”, and the Making of a Fallacy","authors":"Brian Harker","doi":"10.1080/17494060.2021.1970611","DOIUrl":"https://doi.org/10.1080/17494060.2021.1970611","url":null,"abstract":"ABSTRACT Recalling his first recording session with Charlie Parker on 26 November 1945, Miles Davis said he was so nervous that Dizzy Gillespie had to step in and play the trumpet solos on “Ko Ko,” the fast final tune of the session. Others present—producer Teddy Reig, pianist Sadik Hakim (aka Argonne Thornton), and Dizzy himself—all verified this story, that it was Gillespie and not Davis who played on “Ko Ko.” Yet despite this straighforward line of testimony, jazz writers and fans have questioned this account since the 1950s. More recently, the serious argument that it was in fact Miles who played the solos, not Dizzy, has appeared in various credible forums, including authoritative websites, Facebook groups involving professional jazz historians, and the magazine JazzTimes. This article examines this revisionist claim and finds it without foundation. In addition to the abundant and unanimous testimony of eyewitnesses, the musical evidence shows that in other solos recorded before and after the 1945 session, Gillespie reprised large portions of the complex “Ko Ko” solos. During a live performance of “Ko Ko” in 1947, he even played a sophisticated variation of the intro, a vanishingly unlikely occurrence had Miles Davis played the original.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46815974","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}