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Modernism in black and white：American jazz in interwar Europe between the wars
Modernism American jazz black and white
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2009/10/21
This essay is partly about how and why Paris became the great good place for American jazzmen and women in the 1920s and 1930s, especially those who were not merely black but whose sexuality made life...
Attunement and Free Jazz
Attunement Free Jazz rhythms
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2008/11/3
My personal experiences with sound and rhythm began at age four, sitting underneath the family baby grand piano and listening to the sounds as my father practiced scales. Listening to and absorbing so...
Diversifying the Groove:Bulgarian Folk Meets the Jazz Idiom
Folk-jazz ethnojazz swinging odd rhythms exotic rhythms asymmetric meters non- Western fusion Bulgarian folk groove Balkan groove
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2008/10/30
During the 1960s, the decade before
his immigration to the U.S., the Bulgarianborn
musician Milcho Leviev – composer,
arranger, piano player, and jazz innovator, –
played a key role in Bulgarian j...
Of Sunshine and Happy Endings: Jazz, Parody, and the Limits of Interpretation
Sunshine Happy Endings Jazz Parody Interpretation
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2008/10/29
Given the complexities of his musical thought, the composer and music theorist George Russell has been a prime target for formalist analysis, which tends to emphasize his use of polytonality, his intr...
I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980
African-American Experimental Composers French Jazz Press
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2008/10/29
Beginning in the 1970s, the French jazz press became the first community of critics seriously to consider the new African-American experimental music being put forth by musicians such as Ornette Colem...
The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement
Jazz Avant-Garde Black Arts Movement Black Aesthetic
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2008/10/29
This essay focuses on the relationship between writers associated with the Black Arts Movement in the United States and the experimental directions in jazz that occurred during the 1960s, the decade g...
Deconstructin(g) Jazz Improvisation: Derrida and the Law of the Singular Event
Deconstructin(g) Jazz Improvisation jazz-text collaboration
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2008/10/28
Taking as its point of departure the improvised jazz-text collaboration between Ornette Coleman and Jacques Derrida at the 1997 Paris La Villette jazz festival, this article critiques the dominant pos...
Looking for the Band: Walter Benjamin and the Mechanical Reproduction of Jazz
Band Jazz Walter Benjamin
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2008/10/28
Using Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction” as a template, this paper examines the impact of recording technology and the recording industry on the developmen...
Schooling the future: Perceptions of Selected Experts on Jazz Education
Schooling the future Jazz Education Perceptions
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2008/10/28
Aspects of both the functionalist and interactionist schools in sociology consider formal education as a form of social reproduction. Despite the large number of students that participate in school ja...
Anthony Braxton gave the keynote address at the 2007 Guelph Jazz Festival and kindly let us video record it. Here we offer the streaming video (including many audio examples) along with an edited tran...
The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education
Improvisation Jazz Education
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2008/10/27
Jacques Attali writes that music can serve to “invent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those...
From the Margins to the Mainstream: Jazz, Social Relations, and Discourses of Value
Mainstream Jazz Social Relations Discourses of Value
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2008/10/27
This paper examines the manner in which particular discourses have served to shape and influence broader social understandings of various forms of contemporary jazz and improvised music, exploring the...
The Evolving Image of Jazz in Britain in Sheet Music
Evolving Image of Jazz Britain Sheet Music
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2008/10/24
The established view of the history of jazz in Britain is that it began in 1919 with the visits of the first American bands to perform specifically jazz music. However, this premise is clearly an ove...
Report on the 2008 Mannes Institute for Advanced Studies in Music Theory: Jazz Meets Pop
Music Theory Jazz Meets Pop
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2010/3/24
Henry Martin – Introduction
[1] The 2008 Mannes Institute for Advanced Studies in Music Theory: Jazz Meets Pop took place at the Eastman School of Music, June 15 to June 18, 2008, in Rochester, New Y...
The NAC presents a Broadband jazz masterclass with saxophonist Joe Temperley on Dec. 12（图)
jazz saxophonist
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2006/12/14
Ottawa, Canada -- Renowned saxophonist Joe Temperley will give a jazz masterclass on Tuesday, December 12 in the NAC’s Fourth Stage from noon to 14:00. Admission is free. This is the third of four ses...