Jazz Studies And New Media

Gillespie y Pozo fusionaron el Jazz y la música cubana. Mario Bauza, Machito y Graciela crearon el Cubop o Latin Jazz, el antecedente directo de la SALSA. Historia del Jazz. Parte XLIX
https://salsaconcausa.blogspot.com/2019/05/gillespie-y-pozo-fusionaron-el-jazz-y.html

Christian Scott aTunde Adjuah is an African American trumpeter, composer and producer from New Orleans, Louisiana. He has written compositions and performed improvisations committed to social justice themes. His cultural work is a natural extension of his community service training directed by his grandfather Donald Harrison Sr. His composition 'Danziger' (2012) gives voice to the unarmed citizens injured and killed by police as they crossed the Danziger Bridge in the wake of Hurricane Katrina. 'Danziger' extends from his stretch music theory which aTunde Adjuah describes as disassembling and reassembling musical ideas so that his compositions and improvisations can be understood holistically. While aTunde Adjuah's interpretation of the Danziger Bridge shootings is funneled through the ontological cornucopia of his trumpet and references his particular community, the message he sends out through his custom-made trumpet bell is universal because his critique supports everyday human rights.

Téma:Analýza rozdílnosti divácké recepce filmového díla a umění
Abstract:
Nejen v diskurzech z oblastí: filmových věd a teorií pohyblivých obrazů, ale rovněž prakticky v každé otázce spjaté s el. médii, se až příliš často setkáváme s tendencí porovnávat média současná s těmi, jež jim předcházela.
Tato komparativní metoda a analýza médií dává vzniknout genealogiím a příběhům, které pro nás nadále utváří relativně pevný svazek zásadních vědeckých či uměleckých objevů a dějinných událostí ze světa médií.

Intervista comparsa su Alias de Il Manifesto il 23 02 2013 con il grande storico inglese sul jazz del ventesimo secolo.

Interview with the great historian about jazz of the 20th century. Published by Alias de Il Manifesto il 02 - 23 - 2013

Mixing facts and fiction, Hollywood screen biographies have told the lives of popular music icons at least since The Jazz Singer (1927). However, biopics construct narratives that deal problematically with issues of race. This article aims to describe how representations of African American musicians have changed from 1970s ‘black jazz biopics’ (Gabbard 1996) to more recent films on rock, hip hop and rhythm ’n’ blues acts. On one hand, I analyse the way 1970s music biopics constructed a peculiar new narrative about race and popularity. On the other hand, I show the extent to which films such as Tina (1993), Ray (2004) and Notorious (2009) have subtly modified the racialized distinctions of former biopics, placing black musicians within a cinematic mythology which historically had been reserved to white subjects. The shift from jazz to other music genres, thus, is related to significant changes in biopics’ narratives and visual strategies. However, I argue that music biopics still deal with a distinctive notion of ‘the popular’ (Williams 1983), which frames blackness as otherness and whiteness (Dyer 1997) as just ‘human nature’.

(first publication by Jazz Research Journal and Equinox)

This article explores how iconography can be a useful analytical tool, and in the process help to demystify the lives and music of so-called jazz icons. I will start by illustrating how a narrative around jazz bassist and Ellingtonian Jimmie Blanton (1918-1942) grew that posits him as an artistic hero in the pantheon of jazz history. Next I will highlight some problems that arise with such canonization and examine two case studies focused on Blanton, one based on statements historian Gunther Schuller made in regard to the bassist’s right hand posture, and a second one focusing on his tone in relation to his physical position within the Duke Ellington Orchestra. In both cases visual sources are used to gain a better understanding of Blanton’s performance technique, which in turn aids to nuance his iconic framing.

2017. El jazz se inventó en 1917. La afirmación es discutible, por no decir desacertada, pero la opinión de las personas que estuvieron allí también cuenta. Es que la canción “Livery Stable Blues” de la Original Dixieland Jass Band se publicó en marzo de 1917 y, por convención, arbitraria como toda convención, obtuvo la medalla de primera grabación comercial de jazz. La banda venía de Nueva Orleans, Louisiana, en el sur de Estados Unidos, pero había obtenido cierto reconocimiento en los clubes de Chicago y Nueva York, en el norte, donde estaban la fama, los contratos y el dinero. Nadie en Nueva Orleans consideraba a ese sonido una primicia; hacía décadas que se lo escuchaba en las calles, las casas y las cantinas. Un siglo más tarde, en Nueva Orleans, el jazz es cultura hegemónica: puede darte oxígeno al igual que puede asfixiarte. El jazz es capaz de edificar un universo concluso y estático en el que cada uno desempeña un papel más o menos previsible. También es capaz de crear los puentes de fuga.

Outre le choix des notes, qui est prescrit par une tradition commune, qu’est-ce qui distingue un improvisateur jazz d’un.e autre ? Qu’est-ce qui constitue leur « son », leur « signature » ? Les méthodes d’analyses plus traditionnelles n’étant pas suffisantes pour circonscrire l’entièreté de l’expression contenue dans l’improvisation jazz, nous devons nous tourner vers l’étude d’enregistrements de solos improvisés afin d’examiner la « performance » musicale, c’est-à-dire les éléments liés à la production du son par l’instrumentiste. Cependant, l’oreille pouvant omettre certains éléments au profit d’autres, nous avons adapté un modèle d’analyse par spectrogramme utilisé pour le chant en musique populaire. En ajoutant le visuel à l’auditif, ce modèle permet un inventaire plus exhaustif des « gestes sonores » contenus dans les improvisations, c’est-à-dire toutes manifestations sonores produites par des gestes instrumentistes effectués au sein d’un processus musical. Tirée d’un projet de recherche-création, une méthode autoethnographique nous permet de distinguer des gestes sonores tirés de mes propres improvisations et ainsi le comparer avec celles du saxophoniste de réputation internationale Chris Potter. Les analyses distingues cinq gestes sonores, subtils mais distinctifs, observés à partir des microvariations de hauteurs lors de l’attaque ou le déclin de certaines notes, de l’utilisation particulière de sons multiphoniques, du vibrato, des jeux de dynamiques et de bruits de clés.

A jazz trumpeter, composer, bandleader, and painter, Davis played a vital role in the history of modern jazz. During a career that spanned more than fifty years, Davis developed an original, lyrical soloing style and emerged as a pioneering leader of several jazz idioms, including cool jazz, hard bop, modal jazz, jazz-rock, and jazz-funk fusion. | Goecke, N. Michael, "Miles Davis," in Great Lives from History: African Americans, Carl L. Bankston III ed., (Pasadena, CA: Salem Press, September 2011).

A term applied to avant-garde jazz of the 1960s and more generally to experimental performance approaches that preceded and followed that decade. Free jazz is sometimes defined negatively, in terms of the conventional jazz features from which it may depart, including a reliance on tonal harmony, metrical rhythmic structure, sectional form and standard jazz instrumentation, instrument timbres, techniques and ensemble roles. This approach, however, glosses over the very different ways in which individual musicians altered, extended or broke down conventions, and it offers little insight into the music's underlying organization. Other definitions of free jazz situate the music within a tradition that has always valued experimentation, collaboration, improvisation and frequently a spiritual dimension to music. Far from operating without constraints, free jazz requires skill and communication to select appropriate constraints while developing both the content and the form of the music in the course of performance.

Jean-Michael Basquiat (1960-1988), artista cuya obra se vincula habitualmente al neoexpresionismo y el primitivismo, dejó un abundante legado pictórico pese a morir a los 27 años. Puede decirse que su trabajo y su breve carrera son paradigmáticos de la situación del mundo del arte en la década de 1980, que presenció el declive del arte conceptual y el minimalismo, dominantes la década anterior, y una permeabilidad creciente entre las llamadas en ese momento " alta cultura " y " cultura popular ". Basquiat es, en definitiva, fundamental para entender este contexto y la dirección que el arte tomaría a finales del siglo XX. La música ocupó en su vida un lugar central ya que no solo influyó directamente en su producción, sino que él mismo participó en formaciones como Grey. El jazz fue para Basquiat —de la misma forma que otros elementos afroamericanos— un importante referente, con cuadros que retratan a Dizzy Gillespie o Charlie Parker o aluden de manera explícita a su música. Pero no solo constituyó un influjo directo, pues tanto en sus obras como en sus opiniones o parte de su forma de trabajar se advierten simetrías con el jazz, pero también ambigüedades y contradicciones. Esta comunicación se ocupa, vinculando la musicología a la hermenéutica, del heterogéneo flujo de relaciones entre Jean-Michael Basquiat y el jazz.

Flamenco Jazz versus Jazz Flamenco: The Phrygian Metamorphoses.
Dr. Carlos Duque City University, London

Keywords: Jazz, Flamenco, Harmony, Influence, National Roots, Popular Music, Analysis, Flamenco-Jazz, Flamenco-Fusion.

Spain has a strong musical identity, and Flamenco-Jazz or Jazz-Flamenco is an ingredient of this singular conception. Since Franco’s period, Jazz and Flamenco have been searching for a National Identity, aiming for a distinctive sound via fusion. The development of Jazz and Flamenco, have many common points in the evolution of their histories. However, both styles, Jazz and Flamenco are very different in terms of scales, harmony and rhythm, and their advance has been complex but with clear stages. The approach to Flamenco-Fusion, depends on whether the musicians background is Jazz or Flamenco.

This paper will explore the different influences of flamenco in jazz and the influence of jazz in flamenco. Stemming from very different milieu, it has been easier for jazzmen to use flamenco in their music (harmonies and scales generally). Flamenco players have been more focused in keeping the roots of the “real” flamenco than in integrating resources from jazz. In fact some flamenco purists claim that it is a big mistake to lose the identity with the fusion of diverse styles.

In the evolution of Flamenco-Jazz (or Flamenco-fusion), we find three periods:
• Pioneers (1950-1970): Tete Montoliú, Pedro Iturralde,
• Evolution (1970-2000): Manolo Sanlucar, Paco de Lucía,
• New Voices (2000- ): Jorge Pardo, Carles Benavent, Chano Domínguez
The New Voices period, has a wide variety of styles, which comes from the evolution period, combined with classical music (contemporary and from the Renaissance) as well as Progressive Rock. In this paper I will explore the evolution of Flamenco-Fusion, from the pioneers until the New Voices. I will analyze the different approaches to the Phrygian metamorphoses in the most representative musicians (from Spain), and will explain how National identity applied to Jazz, changed since the 1950s

The score of the 2 ½ hour “magnum opus“ named “Epitaph”  was reconstructed 10 years after Charles Mingus’ death in 1979. Most of the movements were probably composed in the late 1950s. As the finale was missing, Gunther Schuller, the conductor of the world premiere in 1989, decided to improvise one with the orchestra, using Mingus as a guide. The aim of this paper is to analyze “Main Score Part I ” and “Main Score Part II” and to look into the score of Mingus’ reconstructed compositions under particular observation of the new finale, “Main Score Reprise”. There, Mingus left instructions for a return to the opening section of “Epitaph“. By examining “Epitaph” in the historical context of Jazz between 1955 to 1967 and the 1980s and comparing the finale of “Epitaph“, created - or better said: improvised - by the musicians of the 1989 world premiere with the opening section, at first it will be interesting to discover at which point Gunther Schuller followed Mingus creative process and brought it to life in 1989. Finally, it will be speculated if Charles Mingus composition still represents a foresight of Jazz nearly 30 years after its creation.
Index Terms: Epitaph, Charles Mingus, Gunter Schuller, Jazz reception, Bebop, Hardbop, Duke Ellington, Black, Brown and Beige, African-American music, Free-Jazz

This catalog of melodic and harmonic materials found in Yusef Lateef’s "Repository of Scales and Melodic Patterns" is meant as a study guide for practical and academic use.

I have listed only the materials Lateef employed as general headings and source material for the text’s many etudes and harmonic studies. I hope that this paper stimulates further inquiry into this text in particular and in Lateef's creative output in general.

This is not an analytical paper and analysis has been kept to a minimum used solely for the purpose to aid in the general understanding of the materials and how they are used within the text . This catalog could be used both with the original text and without when the original text is not practically available.

Thomas Scott McGill
6.27.16

Several of Jelly Roll Morton's 1920s piano rolls are among the greatest musical creations to come from an American composer. They are important because in terms of musical infrastructure — the notes and rhythms — they largely represent what Morton actually sat down and played.  This conclusion can be drawn by comparing them to Morton’s phonograph recordings, particularly those from the same time period in which his rolls were made.  However, as was standard for pop piano rolls of the era, the subtle expressive details — dynamics and tempo variation — that characterize all human performance were extracted in the roll manufacturing process. The fact that Morton had made these extraordinary piano roll renditions from which his unique performance style had been extracted was troubling. How then, could we return to his piano roll renditions the characteristic expressivity of Morton’s live performance? Using his contemporaneous 78 rpm phonograph recordings and new computer technologies that became available in the 1990s, this paper details the method we developed to return Morton's uniquely expressive performance style to his piano rolls.

Jazz has steadily evolved from its inception in the late 19th century to the present. As is the case for other genres, musicological analytic research on jazz evolution has lagged behind its practice; consequently, there is a paucity of in-depth descriptive and analytic research on the music of recent innovators. Among the most recent examples of this evolution, the works of Brad Mehldau as a solo/ensemble pianist and as a composer arguably embody some of the most compelling innovations in the field. Non-academically oriented jazz writers and fans have consistently assigned these works vanguard status, but Mehldau’s output has not yet been sufficiently examined to prescribe performance methods. This exegesis contains (1) descriptive analysis of improvisation contained within a broad cross-section of Mehldau’s music; (2) definition of a new analytical lexicon derived from a holistic study of consonance, dissonance, and research into perceived motivation in music; and (3) prescriptive musical tools relating to consonance and dissonance that have informed the researcher’s performance.

This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The Don Ellis’s most rhythmically-complex and also most-popular compositions. The dissertation is dedicated to Hank Levy (1928-2001).

This paper will examine Arnold Schönberg’s influence on modern jazz through the teachings of one of its most respected theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Randy Brecker, Jim Hall, Rufus Harley, Pat Martino, and many other important jazz artists.

Through the analysis of musical examples, this paper proposes that important conceptual links exist between some of Schönberg’s key compositional concepts and Sandole’s pedagogical literature and practice which would go on to influence John Coltrane and many other jazz practitioners for decades to follow helping to solidify Schönbergian ideas and concepts within the syntax of modern jazz. Schönberg’s utilisation of various segmentation schemes such as trichords, tetrachords and hexachords, use of interval cycles particularly that of interval cycle 4 or major thirds, and the compositional practice of stating the complete chromatic collection within a relatively short musical space have provided jazz practitioners such as Sandole and Coltrane with a new conceptual framework for employing the total chromatic harmonically and melodically in modern jazz practice.

This exegesis is tied to the CD, ‘Portrait of New York’ – an assortment of inventive musical compositions to explore diversity in electric jazz after 1970, and three multi-faceted live performances focused on electric bass from that period.

It is an investigation that examines my journey, through the CD recording, three performances, transcription, analysis and research, utilising some pivotal contemporary jazz composers and electric bassists from the late twentieth century. The electric jazz period post-1970 was an exploratory time when composers began merging other music styles and genres with jazz in the search for new ideas and concepts. The CD recording represents the outcome of a five-year research process and a musical and personal journey to New York City to rehearse and record the CD with Omar Hakim, Mike Mainieri, Rachel Z and other well-known jazz exponents.

To develop these broad considerations, I constructed a semi-autoethnographic narrative that focuses on my creative practices, processes and discoveries as an electric bassist. The narrative is grounded in my lived experiences and research. It reveals shifts between explanation and action, discussion and personal reflection, and credits broader considerations.

Integral to the performances and exegesis research was the audio examination phase and the meticulous inspection of works and literature encompassing 1970 through to the twenty-first century. This procedure was to gain archetypal works worthy of demonstration of
this period of jazz and the electric bass. This journey of intense audio investigation, practice, transcription, associations and research alignment forms the most substantial portion of the selection procedure and review. The personal findings of my journey determined the direction of the CD compositions and consequently, the performed works.

The transcriptions, analysis and review culminated in a methodical list of varied
approaches, techniques, relationships and developments on electric bass connecting to rhythm, counterpoint, improvisation, interpretation, phrasing and polyrhythm, all of which are outlined in a glossary overview. This list was used and examined as a practical application guide, a structure for personal exploration, including expansions of concepts that are discussed throughout this exegesis. The facets of this journey led inevitably to its conclusion, being the effects of my studies on the three performances and the CD release.

The pivotal points of this performance-based exegesis are where the discoveries of the varied facets of research are applied, all of which stipulated the foundation of my research.

Riconoscimento del jazz come identità della cultura americana negli " Anni Ruggenti " attraverso " Rapsodia in blue " di George Gershwin. Lo scopo di questo lavoro è proporre una lettura e un punto di vista personale, e più in generale, una ricostruzione storica dell'humus culturale in cui si trovavano gli Stati Uniti d'America all'inizio degli anni '20 del Novecento. Consapevoli che, proporre una storia esaustiva su questo argomento sia del tutto irrealizzabile e, seguendo un tracciato già percorso in passato da filosofi e studiosi (Ariès, Duby, Koselleck, Burke ecc..,), si cercherà di far emergere, attraverso l'uso di documenti (opere d'arte, fonti storiche) quali siano stati i moventi psichici, consci e inconsci, che hanno portato a forgiare la " mentalità " dell'epoca. Una ricostruzione che non può far a meno di considerare anche una storia della ricezione che l'opera d'arte, (intesa come opera tout court) ebbe in questo periodo storico conosciuto come " Anni Ruggenti ". Occuparsi di una storia delle mentalità significa ricercare un sentiero, una sorta di filo conduttore che accomuni il non cosciente collettivo nella storia, indipendentemente dalla cultura e dalla corrente egemonica di un dato periodo, alla ricerca di linee generali che possano dare una visione più completa e generalizzante attraverso una particolare manifestazione artistica del periodo, e quindi dal particolare al generale e viceversa. In questa ricerca c'è bisogno di cercare un " Orientamento ideologico che produce documenti storici di un certo tipo di mentalità. L'emotività che spinge l'uomo alle azioni fa parte del non cosciente collettivo. Storia fatta dalla umoralità, testimonianze che portano l'emotività. Per studiare le emozioni abbiamo le opere d'arte, la narrativa, la musica e la pittura ". (Ariès, Duby) L'opera d'arte in se quindi va considerata in una duplice veste: come opera del suo tempo, affioramento di un episteme; e come oggetto e documento universale in eterno presente, soggetto alla libera interpretazione soggettiva, così come accade per le scienze storiografiche. (Foucault) Agli inizi degli anni '20 New York era un ribollire di idee e cultura. La città era protesa in avanti, desiderosa di conoscenza verso le nuove e più aggiornate tendenze culturali. Le correnti moderniste si formarono proprio in questo periodo sulle pagine di numerose riviste che stavano nascendo, a partire dal lavoro dei filosofi pragmatisti americani come William James e John Dewey che proponevano, se pur non in maniera del tutto unitaria, le loro nuove teorie pronte a contrapporsi allo spirito degli ideali vittoriani. In particolare la critica di Dewey era mossa verso le vecchie teorie filosofiche che nella relazione tra conoscenza e azione proponevano uno sbilanciamento a favore della conoscenza; per questo movimento filosofico l'ideale della vita " teoretica " dedita alla meditazione e alla ricerca di una verità a-storica, contrapponeva l'ideale della verità come farsi, come azione, come attività. Su questa strada quindi i pragmatisti proponevano una rivalutazione dell'azione, rifiutando la tradizionale concezione della verità intesa come conformità tra cosa e idea, come adeguamento tra essere e pensiero; la verità si trasforma da stato mentale ad attività, farsi conoscitivo, intesa come risultante delle attività necessarie alla verificazione. Risulta di particolare importanza il pensiero di Dewey che contesta la nozione classica dell'esperienza: " Noi cominciamo appena ora a intendere che è completamente annullata la psicologia che dominava la speculazione filosofica dei secoli XVIII e XIX. Essa affermava che la vita mentale ha origine nelle sensazioni che sono ricevute separatamente e passivamente e si riuniscono, per mezzo delle leggi della memoria e dell'associazione, in un mosaico di immagini, di percezioni e di concezioni. I sensi erano considerati come ingressi o vie della conoscenza. Salvo che nel combinare le atomistiche sensazioni, la mente era del tutto passiva e quiescente nel conoscere. Volizione, azione, emozione, desiderio, sono conseguenze delle sensazioni e delle immagini. Il fattore intellettuale o conoscitivo viene per primo e la vita emotiva e volitiva è solo una conseguente congiunzione di idee con sensazioni di piacere e di dolore. " (La ricostruzione filosofica) La vecchia concezione risulta ormai da contestare in base ai risultati della moderna scienza e soprattutto della biologia: " Lo sviluppo della biologia ha avuto per effetto di capovolgere questo quadro. Dovunque c'è vita,

This study focuses on three albums of original music performed and recorded by the author as the leader of the Haftor Medbøe Group and released variously by Linn Records and Fabrikant Records between 2006 and 2010.
Through the prisms of historiography, community and boundary, cultural migration, and collaboration, the thesis explores creative identity and practice as formatively and summatively applied in the realisation of the published works. The thesis employs personal reflection on the composition and performance of the published works to present an account of evolving engagement with current and historical thinking on narrative, trope and identity in jazz music and its communities.
The discussion will challenge accepted constructions of linear, canonical history in jazz, offering instead a pluralist understanding of its stylistic and aesthetic development over the past century. The assumptive and selective modalities through which jazz histories and practices are collectively constructed will be viewed in parallel with the author’s retrospective understanding of personal creative history and cumulative identity.
The imagining of global, national and local communities of jazz production and reception will be examined in relation to their influence on the cultural positioning of the author as a jazz composer and performer. In looking beyond historical perceptions of jazz as an instrument of American cultural diplomacy and dominance, it will be shown that the European adoption of the musical language of jazz has, using the example of Nordic Tone, given rise to discrete reinterpretations and divergences from the genre’s ethnic roots. The role of national identity in non-American conceptions of jazz is consequently examined in the context of the author’s experience of creative and collaborative practice through the published works.
It will be argued that in spite of being culturally rooted in early 20th Century America, jazz has become a ‘glocally’-informed music, with locally and individually framed values of genre authenticity and guardianship extant alongside traditionalist claims to heritable lineage. Through considering and
i
reflecting on cultural and national identities and communities, the thesis will demonstrate that musical practice and collaboration are informed and affected by complex conscious and subconscious relationships with these themes, that are ultimately synthesised in the published works.

This short work will look at some possibilities for using Arnold Schoenberg’s symmetrical set from his Serenade Op. 24 Mvmt. 5 as pitch material in Jazz/Fusion improvisation.

I will examine some harmonic and melodic uses of the set’s two hexachords using an accepted Jazz Chord/Scale Relationship pedagogical methodology. My approach will look at these pitch groups as unordered sets or collections only, although their use as ordered sets is of course certainly possible. As many Jazz and Fusion Improvisers are familiar with Nicholas Slonimsky’s Thesaurus of Scales and Melodic Patterns , I will reference this text in relation to the sets and subsets present in this survey for ease in cross referencing.

Two of the most well-known Malay films from the 1960s, Antara Dua Darjat (Between Two Classes, 1960) and Ibu Mertuaku (My Mother-in-law, 1962) feature ‘jazz-heroes’: a consummate jazz pianist and a tragically blind tenor saxophonist. During the 1960s, the vernacular Malay entertainment industry was based in Singapore; a cosmopolitan hub of international commerce and cultural exchange. In my paper, I consider how jazz-musician protagonists and their music articulated the concerns of an emerging nation and negotiated issues of class, gender and modernity in Malay ‘social’ films of the 1960s. This emerging genre of vernacular film, scripted and directed by local Malays, articulated the tensions and anxieties of a predominantly rural Malay community adapting to urban environments. Such films engaged progressive ideas about working-class rights and challenged Malay feudalistic elitism. I consider in the above mentioned films how ‘jazzy’ and cosmopolitan music negotiated the fissures between modernity and tradition, urban and rural, working-class and elites, autocracy and self-determination. P. Ramlee – an omnipresent national culture icon until present day - directed, starred, composed and performed music for both films. Both films feature musicians as a marginalised working class, performing for the elite classes in exclusive private parties or swanky nightclubs. In my intertextual historical-musical-narrative analysis, I note how the performance of jazz or jazz-like music allows such musicians to cross the class divide and Ramlee’s ‘jazz heroes’ cross further by courting women from the elite classes with their music. In turn, these female protagonists in their class-defying romances articulate notions of self-determination and challenge the patriarchal orders of elite Malay society. I argue that ‘jazz’ on the Malay silver screen provided a cosmopolitan musical aesthetic for the imagining of new class and gender roles; resonating the zeitgeist of modern postcolonial nationhood in 1960s Singapore and Malaysia.

Count Basie revolucionó el Jazz con su piano elegante y su blues original. La mejor sección de vientos del Jazz la tuvo Basie y de Kansas vino a conquistar New York. Historia del Jazz. Parte XXXVIII
http://salsaconcausa.blogspot.pe/2017/08/count-basie-revoluciono-el-jazz-con-su.html

A historical survey of the Belgian jazz magazine 'Music,' which appeared between 1924 and 1939. This article also touches upon various significant events in Belgium's jazz history in the Interwar period, in particular the creation of the Jazz Club de Belgique (1932), the organization of various (inter)national jazz competitions (1932-1939), and the first Belgian jazz recordings (1925/1927).

In this paper I explore jazz as a generative metaphor for education. I first briefly discuss the role of metaphor in shaping the way we think about education and organizations. I then compare the hierarchical organization of a classical symphony orchestra with the Industrial Machine Age factory/office system and the educational system that arose with it. I contrast this with the organization of a jazz band, and discuss the educational implications in relation to creativity, learning, collaboration, improvisation, and social organization.

Pros and cons of Jazz, written by German journalist and music producer Joachim-Ernst Berendt in 1953, is a key document of his controversy with philosopher and music critic Theodor Adorno. The historical background given at the Postwar II period was basically the effort of Germany’s reconstruction and democratization. In view of the harsh criticism of Adorno, Berendt advocates in favor of jazz, surrounding one of the topics of the controversy on the question of whether jazz contributes to the formation of authoritarian attitudes (Adorno) or if it is able to immunize against totalitarianism (Berendt). In fact, the controversy between the two authors reveals how music represents a battleground of ideologies, particularly based on political beliefs, aesthetic preferences and/or on personal convictions. In these 60 years, however, time while Adorno’s rejection became notorious, the affirmative intervention of Berendt remained almost forgotten, a disparity that the present translation in Portuguese aims to alleviate. Therefore, some conceptual, historical and geopolitical peculiarities of the discussion led the translator to insert notes with additional information and comments of explanatory character.
                                                                                                                :::  :::  :::  :::  :::  :::
Apresentação: Em 1953, nas páginas da revista literária alemã Merkur, o crítico e produtor musical alemão Joachim-Ernst Berendt e o filósofo e crítico musical Theodor Adorno se envolveram em uma instigante controvérsia sobre o jazz. A pedra de toque era o artigo ”Moda intemporal: sobre o Jazz”, publicado por Adorno em julho daquele mesmo ano, cujo objetivo era questionar status e popularidade que o gênero musical estadunidense passara a usufruir na Alemanha após o fim da Segunda Guerra Mundial. Já no Merkur de setembro de 1953, Berendt publica a sua resposta a Adorno, denunciando uma série de equívocos que o filósofo teria cometido em sua análise. Adorno, por sua vez, redigiu também uma tréplica, na qual demonstra indiferença e intransigência. Uma vez que o artigo original e a tréplica de Adorno já se encontram disponíveis em português (Prismas: crítica cultural e sociedade. São Paulo: Editora Ática), a Revista Arte Filosofia agora tem o prazer em anunciar a publicação de uma tradução criteriosa e ricamente comentada do texto de Berendt, representando uma peça-chave para se poder compreender e discutir melhor os pontos de vista e os argumentos que cada lado assumiu nesta controvérsia.
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Resumo: A favor e contra o jazz, redigido pelo jornalista e produtor musical alemão Joachim-Ernst Berendt em 1953, representa um documento-chave da controvérsia que teve com o filósofo e crítico musical Theodor Adorno. Como contexto histórico figura a Alemanha pós-Segunda Guerra Mundial, naquela época ainda em pleno processo de reconstrução e democratização. Em face das duras críticas de Adorno, Berendt advoga a favor do jazz. Um dos tópicos da controvérsia se desenvolve em torno da questão se o jazz contribui para a formação de atitudes ou de uma mentalidade autoritária (Adorno) ou se ele é capaz de ‘imunizar’ contra o totalitarismo (Berendt). De fato, a controvérsia entre os dois autores revela como a música constitui um campo de batalha de ideologias e, em particular, de preferências estéticas e de convicções políticas. Nos sessenta anos decorridos desde então, a rejeição de Adorno se tornou notória, enquanto a intervenção afirmativa de Berendt permaneceu praticamente esquecida, disparidade que a presente tradução almeja corrigir. Certas peculiaridades conceituais, históricas e geopolíticas que envolvem a discussão ainda motivaram o tradutor a inserir uma série de notas com informações complementares ou comentários de caráter explicativo.

Art Tatum el inmenso gigante del Harlem Stride Piano aún insuperado y aún no desarrollado plenamente. Desde el aislado Ohio llegó el inmenso coloso del piano Art Tatum a New York, para a destronar a los reyes del Harlem Stride Piano en su propia casa. Historia del Jazz. Parte XXVII
http://salsaconcausa.blogspot.pe/2017/01/art-tatum-el-inmenso-gigante-del-harlem.html

Resumo: Entre as décadas de 1920 e 1980, o jazz iniciou e consolidou sua presença na cultura musical brasileira. Apesar das intensas disputas e contradições nessa trajetória, é possível identificar um fio condutor: a presença de um nacionalismo multifacetado que impôs, em maior ou menor grau, barreiras à recepção do jazz no Brasil. Assim, o intuito deste artigo é verificar quais seriam as principais permanências e rupturas desse processo, que coincide com o período do longo modernismo (1920-1980) descrito por Napolitano (2014). A proposta não é citar a totalidade das experiências jazzísticas em solo nacional, tarefa que seria impossível. Neste artigo, objetiva-se realizar um balanço histórico e bibliográfico sobre a presença do jazz na música popular brasileira e refletir sobre os possíveis indícios do lugar coadjuvante da música instrumental em grande parte da memória e da historiografia. Palavras-chave: jazz brasileiro, música instrumental, música popular, nacionalismo, modernismo.

Charlie Parker, Dizzy Gillespie y el legendario productor Norman Granz. Parker buscó intelectualizar el Jazz y Gillespie era muy competitivo grupalmente. Historia del Jazz. Parte LI
https://salsaconcausa.blogspot.com/2019/07/charlie-parker-dizzy-gillespie-y-el.html

Над розовым морем Over The Rosy Sea/ The Pink Sea. Music and words by Alexander Vertinsky, Serge Ermoll and George Ivanoff 1936. Avant-garde cabaret experiment – the A and B side of a record – Чужие города Strange Cities (Chuzie Goroda) – and Над розовым морем Over The Rosy Sea/ The Pink Sea – (Nad Rosavuim Morem) is a sonic message in a bottle from 1936 Shànghài 上海 where high and popular culture fermented into a brilliant hybrid melange, in the ‘Paris of the East’.

Serge Ermoll Сергей Ермолаев, Chinese born Russian Manchurian jazz composer and bandleader, Serge Ermoll and His Music Masters was managed by Dick Hamilton-Mills Vaudeville Entertainments, Shanghai located in Hamilton House and enjoyed residencies at establishments such as The Paramount Ballroom (1934-36), Ladlows Casanova, Lido (1936) Astor House Hotel (1930), the big band at Cercle Sportif Français (1938-1943 French Club) signed with Dick Hamilton for exclusive cabaret the Arcadia club in the French Concession and the ‘Tower Nightclub’, level 9, The Cathay Hotel, Officer’s Club, Silk Hat (1945-1949) with trio at the invitation of Sir Victor Sassoon, “where Charlie Chaplin and Paulette Goddard once twirled on the teak floorboards of a sprung dance floor.” This was reported in Asiaweek, in Forgotten Exiles: Memorial to the Exiles Shanghai Forgot.

Sergei Lukyanovitch Ermolaeff: Shanghai jazz - born in Harbin Manchuria - am I Western? am I Eastern? #舞影 Wǔ yǐng Dance & Cinema – Shadow Dance.... 黃色音樂  (erotic) 'yellow music' (huangse yinyue) ... petit-bourgeois  #靡靡之音 'decadent sound' (mimi zhi yin) - green jade #玉 ring with Sakura flower #桜 #櫻; さくら 1930s Pathé Records Orient... beige panama suit & flamboyant necktie... identity papers with red ink seal #印刷... demi-monde

Jazz music in children's television communicates contradictory, complex and often problematic messages about childhood. Integrating studies of music, social history, childhood, education and visual media, this paper explores two main ways in which jazz signifies wider meanings about childhood, whilst examining the genre’s use as a pedagogical tool for children. Jazz music on children’s television reveals relationships of knowledge and power between producers and young consumers, between those creating representations of jazz and those being represented by it.
Firstly, jazz (particularly bebop and ‘cool’ modernist styles) implies hipness, exclusivity, autonomous detachment, and a self-imposed separation from adults. Conversely, moaning saxophones, swung rhythms and ‘blue’ notes infer adult sexuality, hustlers, down-and-outs, dancing, drinking and other ‘adult’ vices. In this context, jazz music in children's television offers children a glimpse of the 'grown up' world outside of the mythologised walled garden of childhood.

The paper contrasts the substantial inclusion of jazz music, singers and performers in The Muppet Show with the more infrequent, mannered and didactic use of jazz in Sesame Street to highlight how the genre contributes to contrasting philosophies of childhood education. Specifically, the paper examines the contrasting appearances by Dizzy Gillespie on the two shows, and examines the use of jazz as part of the portrayal of sexualised violence in a musical sketch featuring singer Rita Moreno and drummer Animal on The Muppet Show.

In Praise of Paul Weller…?
Reflections on Popular Music Studies

Symposium

Wednesday 23 March 2016
Birmingham Centre for Media and Cultural Research
Birmingham City University

‘What often passed the post-punk brigade by was Weller's musical subtlety: the allusions to Motown and Stax, the willingness to experiment. That really came to the fore when he started the Style Council, which disgruntled fans wrote off as soulboys. Nor did they welcome the later house-music direction. But not for nothing has Weller referred to himself as The Changingman – a restlessness and impatience that makes him a much more compelling artist. Nice line in knitwear, too.’ Guardian Leader, Friday 27 August 2010

An enduring fixture of popular music culture for almost 40 years, Paul Weller and his work has been the subject of relatively little academic scrutiny. In attending to Weller’s work, the purpose of this symposium is to consider his longevity, musical path and identity as ways of raising questions about the history, historiography, direction, range and operations of popular music culture and its scholarly study.