Jazz Perspectives最新文献_第9页

Civic Jazz: American Music and Kenneth Burke on the Art of Getting Along 公民爵士:美国音乐和肯尼斯·伯克谈相处的艺术

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1202895

M. Fesz

引用次数: 11

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1202920

Matthew Kay

引用次数: 0

Standards and Signification between Jazz and Fusion: Miles Davis and “I Fall in Love Too Easily,” 1963–1970 爵士与融合之间的标准与意义:迈尔斯·戴维斯和《我太容易坠入爱河》，1963-1970

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1196495

J. Meyers

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引用次数: 1

Letter from the Editor 编辑来信

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2015.1204045

Ken Prouty

{"title":"Letter from the Editor","authors":"Ken Prouty","doi":"10.1080/17494060.2015.1204045","DOIUrl":"https://doi.org/10.1080/17494060.2015.1204045","url":null,"abstract":"Recently I was asked to conduct a series of classes on jazz history for a group of middle and high school students for a week long “jazz camp” at Michigan State University. As one who is more accustomed to teaching advanced undergraduates and graduate students, I must confess to a bit of trepidation, not knowing how this group of young people would react to a musicologist. I quickly found that my fears were misplaced, as it was a joy to work with a group of young men and women who were respectful, attentive, and deeply committed to jazz. But what I was most impressed with was the enthusiasm that these students had not just for playing, but for talking about the complex issues that surround jazz today; they were not at all shy about stating their opinions on topics as wide ranging as Wynton Marsalis, Kenny G, and Lady Gaga. Scholarly curiously is not, it seems, limited to those of us with letters after our names, or who write about the music for a living. A recent trip to the Jazz Utopia conference hosted by Birmingham City University demonstrates well that jazz scholarship, too, is thriving, and that our work is limited only by our imagination. I can only hope that some of the teenagers in my group will someday be presenting at conferences such as that, and writing in journals such as this. It is my hope that the current issue of Jazz Perspectives will do justice to this idea. The first article in this issue is contributed by John Meyers of the University of Illinois, Urbana-Champaign. Meyers engages in what I might would term a “micro history” of Miles Davis’s repertoire in the late 1960s and early 1970s, focusing on the Jule Styne and Sammy Cahn standard “I Fall in Love Too Easily,” the “last standard” in Davis’s repertoire, outlasting even such stalwarts as “My Funny Valentine.” Meyers deftly traces the various versions of the song from the “Second Classic Quartet” through the Bitches Brew period, and in so doing, he demonstrates how Davis’s performances of the song during this critical transitional time illuminate important elements of the trumpeter’s changing approach and philosophy, as well as significant fault lines between jazz and popular music. Next, Alexander Gagatsis, currently a doctoral student at the University of Nottingham, offers an extensive study of the work of legendary vibraphonist Milt Jackson. Combining probing musical analysis, rich contextual accounts, and drawing on both deep scholarship and his own experience as a performing jazz vibraphonist, Gagatsis attempts to shed light on Jackson’s improvisational approach, which draws on influences ranging from his community to motor-mechanical processes unique to the instrument. By focusing on Jackson’s work outside the context of the Modern Jazz Quartet, Gagatsis opens a new front in Jazz Perspectives, 2015 Vol. 9, No. 2, 111–112, http://dx.doi.org/10.1080/17494060.2015.1204045","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1204045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104452","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: 0

Harmolodic Pedagogy and the Challenge of Omni-Musicality 和声教学法与全音乐性的挑战

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1196494

Alex W. Rodriguez

引用次数: 3

Free Jazz/Black Power 自由爵士/黑人力量

Jazz Perspectives Pub Date : 2015-05-04 DOI: 10.1080/17494060.2016.1202910

Jeremy C. A. Smith

引用次数: 0

Offering: Live at Temple University 提供:住在天普大学

Jazz Perspectives Pub Date : 2015-01-02 DOI: 10.1080/17494060.2015.1132550

M. Medwin

引用次数: 0

Letter from the Editor 编辑来信

Jazz Perspectives Pub Date : 2015-01-02 DOI: 10.1080/17494060.2015.1134863

Ken Prouty

{"title":"Letter from the Editor","authors":"Ken Prouty","doi":"10.1080/17494060.2015.1134863","DOIUrl":"https://doi.org/10.1080/17494060.2015.1134863","url":null,"abstract":"Over the past few years, jazz has been a topic of some debate in the mainstream press, perhaps more so than usual. The release of the film Whiplash, focusing on a drummer in a collegiate jazz band led by a domineering conductor (a role for which veteran character actor J.K. Simmons won an Academy Award) generated a good deal of controversy. Within jazz circles, many felt the film presented a caricature of jazz, as an art form in which correctness and precision are privileged over artistry and communication. Similarly, a (perhaps unsuccessful) satirical article in the New Yorker presented legendary saxophonist Sonny Rollins as a bitter, jaded figure, whose life had been “wasted” on playing jazz. Justin Moyer, writing in a decidedly non-satirical opinion piece in the Washington Post, suggested that jazz was “boring... overrated... [and] washed up.” Reactions to these slights against the music were immediate and vociferous, as jazz’s defenders vigorously resisted these characterizations of jazz in Facebook posts, Twitter feeds, and extended essays of their own. Fierce debates over jazz are, of course, nothing new, as even a brief scan of the pages of Downbeat, JazzTimes, and other publications (including academic journals such as the one you are reading at this very moment) will reveal. But in the age of the immediacy of social media, and around the clock opinion journalism, we sometimes lose sight of the importance of the public role of deep, probing, informed scholarship, and I suggest that it is good to reflect, in this spirit, on the work that we all do. We at Jazz Perspectives hope that the “image” of jazz which is presented to the public is one in which the music continues to be understood as a vital, dynamic, and everevolving art form, and which sparks lively, spirited, but collegial debate amongst its practitioners, be they performers, scholars, or fans. This issue of Jazz Perspectives is divided into two main thematic sections, each with a pair of distinctive, yet resonant works. In the first section, Sven Bjerstedt and Ofer Gazit engage with issues emerging from transnational jazz communities. Bjerstedt’s study examines the oft-used metaphor of storytelling in jazz improvisation, contrasting ways in which this commonly espoused idea is treated within prevailing (i.e., American) jazz discourses, with those of artists in a particular national context, in this case Sweden. Based on an extensive ethnographic survey of prominent jazz musicians on the contemporary Swedish jazz scene, Bjerstedt’s essay provides a window into the ways in which jazz musicians in global contexts engage with (and frequently depart from) the sometimes America-centric literature on jazz. His informants must constantly negotiate their own unique identities within these national and, increasingly, transnational spaces. Ofer Gazit’s essay on jazz in immigrant communities in Brooklyn likewise addresses issues of transnationality. Specifically, Gazit examines, again, as par","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1134863","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104380","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: 0

About the Contributors 关于投稿人

Jazz Perspectives Pub Date : 2015-01-02 DOI: 10.1080/17494060.2015.1134864

引用次数: 0

Pharoah Sanders, Straight-Ahead and Avant-Garde 法老桑德斯，直来直去和前卫

Jazz Perspectives Pub Date : 2015-01-02 DOI: 10.1080/17494060.2015.1132517

Benjamin Bierman

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引用次数: 0