The featured articles in this volume provide an overview of jazz studies writings from the 1990s to the present day, and each text engages with issues that are central to the changing discourse of jazz in popular culture. The volume includes studies of specific scenes, artists and periods from jazz history, and also comments on broader aspects of musical discourse, from ontological considerations to the politics of canon formation, from issues of representation to international perspectives. The collection encourages readers to engage in comparative thinking and analysis, and contributions touch on a range of themes that will be of interest to scholars who situate jazz at the heart of popular music studies. It is a highly valuable resource for researchers, enthusiasts, teachers and students.
Table of Contents
Contents: Introduction; Part I History, Canon and the Politics of the Popular: Is jazz popular music?, Simon Frith; Hear me talkin' to ya: problems of jazz discourse, Bruce Johnson; Cultural dialogics and jazz: a White historian signifies, Gary Tomlinson; Marsalis and Baraka: an essay in comparative cultural discourse, Lee B. Brown; Struggling with jazz, Scott DeVeaux; Free jazz in the classroom: an ecological approach to music education, David Borgo; Deconstructing the jazz tradition: the 'subjectless subject' of new jazz studies, Sherrie Tucker. Part II Representations, People, Repertoire: White face, Black voice: race, gender, and region in the music of the Boswell Sisters, Laurie Stras; Charlie Parker and popular music, Brian Priestley; The sound world of Art Tatum, David Horn; Out of notes: signification, interpretation, and the problem of Miles Davis, Robert Walser; A question of standards: My Funny Valentine and musical intertextuality, Alan Stanbridge; Doubleness and jazz improvisation: irony, parody, and ethnomusicology, Ingrid Monson; Style and the improvised in Keith Jarrett's solo concerts, Peter Elsdon; Four for Trane: jazz and the disembodied voice, Tony Whyton; Regendering jazz: Ornette Coleman and the New York jazz scene in the late 1950s, David Ake. Part III Reception, Scenes, Global Perspectives: Stars of David and sons of Sicily: constellations beyond the canon in early New Orleans jazz, Bruce Boyd Raeburn; A critical reassessment of the reception of early jazz in Britain, Catherine Parsonage; Making jazz French: the reception of jazz music in Paris, 1927-1934, Jeffrey H. Jackson; Jammin' on the jazz frontier: the Japanese jazz community in interwar Shanghai, E. Taylor Atkins; Concert and dance: the foundations of Black jazz in South Africa between the 20s and the early 40s, Christopher Ballantine; Jazz Britannia: mediating the story of British jazz on television, Tim Wall and Paul Long; Name index.
Tony Whyton is Reader in Music in the School of Media, Music and Performance at the University of Salford. He is the author of Jazz Icons: Heroes, Myths and the Jazz Tradition, Cambridge University Press (2010) and the project leader for the HERA-funded research programme Rhythm Changes: Jazz Cultures and European Identities. Tony was the founding editor of the interdisciplinary journal The Source: Challenging Jazz Criticism and co-edits the internationally peer-reviewed Jazz Research Journal.