Another Place? Why Jazz Festivals Matter

Sep 26 2010 Published by tony under Events

Join us forA?’Another Place? Why Jazz Festivals Matter’A?at the London Jazz FestivalA?2010.A? The public event, held at the Barbican Centre in London on 21 November, will be the first of fiveA?Rhythm ChangesA?panels designed toA?exploreA?keyA?research questions withA?industry professionals. The event listing can be found at:

http://www.londonjazzfestival.org.uk/events/2010-11-21/another-place-why-jazz-festivals-matter

More details to follow once the panel line up has been confirmed…

A?

No responses yet

Leave a Reply Cancel reply

On Twitter

Follow @rhythmchanges

Tweets by rhythmchanges
On Facebook

Rhythm Changes

8 months ago

Posted by request:Popular Music and SocietyCall for PapersSpecial Issue: Jazz DiasporasGuest Editors: Bruce Johnson and Adam HavasSubmissions are invited for a special issue of Popular Music and Society on jazz diasporas. This special issue is about how jazz circulated beyond its accepted sites of origin. This can be both international and intranational; that is, jazz outside the United States, but also jazz outside New Orleans. The latter has received extensive coverage in jazz historiography through geographically based stylistic typologies: Chicago, New York, Kansas City, West Coast. While there is also a growing literature on the international diaspora, both are dominated by essentialist metropolitan and national taxonomies. These approaches elide the dynamics of micro-localized scenes, how and why they are formed, what sort of networks they emerge from and develop. So, by way of example, more might be learned about the circulation of jazz by the study of international port cities and shipping routes than by generalisations based on an individual nation, or by the study of sub-urban scenes than under the rubric of a large city. To understand jazz, one must understand its diasporic reinventions.Jazz historiography has also taken for granted an aesthetics based on an implicit autonomous teleology, a steady self-generated evolution towards a form of perfection through a succession of neatly categorized stylistic movements crowned by the "masterworks" of "great men" in the form of sound recordings. But careful analysis of diasporic forms can instructively challenge these models by exploring the contextual forces that shape the music both locally and globally. The shift away from a self-contained aesthetics to a broader cultural landscape is disclosing the profound importance of jazz in the formation of late modern cultural distinctions, as manifested in its means of production, dissemination, and consumption and in global negotiation with the local: the first new music of modern glocalization.We are also interested in recognising the bewildering range of musics that have been performed and conceptualised under that label of jazz as it has circulated internationally. Why was the word "jazz" applied to musics that we would no longer recognise as such? How did they serve their functions for the musicians and audiences who enjoyed it as such? How does race- and place-based domination intersect with global forms of inequalities? In asking such questions, we learn more not only about the history of the music but also about the various diasporic cultures with which it negotiated.Possible areas of study include, but are by no means limited to, the following:Syncretisms between jazz and local musical traditionsJazz and local ethnicitiesTransnational jazz networksJazz and propagandaNew taxonomies and approaches to the study of jazz migrationsJazz and global structures of neoliberal hegemonyInternational mediations as both channel and filterJazz and localized gender politicsJazz performance and climateJazz and local political formationsFree jazz, DIY cultures, and local political formations of jazzSend proposals of up to 300 words in the first instance. Please note that Popular Music and Society uses US spelling, as well as punctuation: periods and commas at the ends of sentences and phrases go inside quotation marks, not outside; use double quotation marks, not single; the single quotation mark is only used for the possessive case and for quotes within quotes.Contributions will be peer-reviewed for potential inclusion in the main section of the journal. Indicate the name under which you would wish to be published, your professional / academic affiliations, a postal address, and preferred e-mail contact. Deadline for submission of proposals is July 31, 2020. We would hope to commission articles by November 30, 2020, and the deadline for submission of the articles will be December 31, 2021. Please copy e-mail proposals to both Guest Editors: Bruce Johnson at brujoh@utu.fi and Adam Havas at havas@msinst.org. ...

View on Facebook
· Share
Share on Facebook Share on Twitter Share on Linked In Share by Email

Rhythm Changes

9 months ago

Congratulations Petter Frost Fadnes! Rest assured that we will bring out a toast at Rhythm Changes VII (August 2021), to this and all other publications that appeared between our last and the upcoming conference. ...

Jazz on the Line: Improvisation in Practice

www.routledge.com
Jazz on the Line: Improvisation in Practice presents an ethnographic reflection on improvisation as performance, examining how musicians think and act when negotiating improvisational frameworks. This multidisciplinary discussion—guided by a focus on recordings, composition, authenticity, and

View on Facebook
· Share
Share on Facebook Share on Twitter Share on Linked In Share by Email
Brought to you by…

Rhythm Changes was originally financially supported by the HERA Joint Research Programme which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007-2013, under the Socio-economic Sciences and Humanities programme.