UK Jazz Services survey of Needs of the Jazz Community

Nov 02 2012 Published by under Events, News

UK agency Jazz Services is currently running a survey. From their email:

“The firstA?initiative is the first ever survey of theA?Needs of the Jazz CommunityA?and gives everybody from musician, promoter, attenders, youth orchestras, educators, organisations – in fact the whole jazz scene – a chance to have their say.A? This is a great opportunity to voice your opinions on the needs of the jazz community through an online survey hosted on our website. A?

“The purpose of the exercise is to ascertain the needs of the UK jazz constituency, which will strengthen our case for the equitable treatment of jazz in the UK and inform funding bodies, potential sponsors, Parliament and Government on what is required to continue to develop a healthy jazz scene.

“By completing the survey youa??ll be helping to address those needs and ensure that the jazz scene in the UK continues to grow, develop and maintain its vibrancy in the light of public sector cuts and an historical imbalance in the public funding of jazz.A? It also helps us map the demographic of the scene and enable us to better understand our audience and those wea??re trying to help.”

The survey is accessible here:

http://www.jazzservices.org.uk/index.php/the-needs-of-the-jazz-community-survey

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    4 months ago

    Rhythm Changes

    Posted by request:

    Popular Music and Society
    Call for Papers
    Special Issue: Jazz Diasporas
    Guest Editors: Bruce Johnson and Adam Havas
    Submissions 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 traditions
    Jazz and local ethnicities
    Transnational jazz networks
    Jazz and propaganda
    New taxonomies and approaches to the study of jazz migrations
    Jazz and global structures of neoliberal hegemony
    International mediations as both channel and filter
    Jazz and localized gender politics
    Jazz performance and climate
    Jazz and local political formations
    Free jazz, DIY cultures, and local political formations of jazz

    Send 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.
    ...

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    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.