News, callouts,
conferences, jobs, and more...
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December 2022
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Welcome to the December 2022 edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities.Â
Happy New Year - it’s the time of reflections and resolutions and of course, the JEN conference. Hope you made your arrangements to attend January 4-7 in Orlando and check out the research presentations on January 4 and poster presentations on January 5. I will be presiding over all research presentations on Wednesday, please come say hello. We have reservations for our JEN Research Network Dinner on Wednesday, January 4 at 6:30 at Trevi’s in the Resort, still several spots open - just join, buy your own dinner and connect with colleagues. Do send me a note if you plan on joining
so I can keep count. Â
JENRing Mentoring is under way! Mentors and Mentees interested in participating in the JENRing Mentoring Initiative may sign up at this link. We are seeking mentors with experience in publishing peer-reviewed articles or books to assist those seeking mentoring for their research projects, particularly with an emphasis on writing for our Jazz Education in Research and Practice journal. Mentor/Mentee sign up sheets and mentoring guidelines will also be available in the research room at the JEN Conference in Orlando. Questions may be directed to Dr. Tish Oney, JENRing mentoring chair, at tishoney@gmail.com. Thank you for your support of JEN's new mentoring initiative!
JAZZ Volume 4 is published, you can purchase copies at the conference or with your JEN membership discount for $15 here. JEN members have access to reading the JAZZ articles for free on the JEN website, but also have access for a discounted yearly subscription to the print or electronic edition for $15 through the IU Press website. This edition includes
Articles
Case Studies
Scott Gray Douglass - The Influence of D. Antoinette Handy— Musician, Scholar, Administrator, Visionary—on the Expansion of Music Education in Richmond, Virginia (pp. 43-63)
Ori Yossef, Roni Granot - Thinking Outside the Pattern-Based Box in Jazz Improvisation (pp. 64-81)
Reflective Essays
Whitney Ashe - A Survey of Four Introductions by Chick Corea (pp. 82-101)
David Baker - Opening the Door: Using Pluralism as a Philosophical Lens in the Jazz History Classroom (pp. 102-111)
Jordan Ferrin - Regarding Musical Understanding and Aural Learning from the Introduction of Audiation to Novice Jazz Students (pp. 112-131)
Jacob Hertzog - The Museum, the Laboratory, the Venue, the Embassy: Public Universities and the Future of Jazz (pp. 132-149)
Zachary S. Nenaber - In Memoriam, James Lester “Jim” Widner (1946–2021) (pp. 150-153)
Quick Hits
Reviews
Note below the info on Lewis Porter’s monthly newsletter Playback providing a wealth of information from a renowned researcher. The monthly series of webinars will continue after a short holiday break on
February 3, 3pm EST with Glen Brumbach - The Effects of Two Jazz pedagogical approaches ....by high school musicians and on the first Friday of every month featuring one of the authors published in JAZZ (Jazz Education in Research and Practice). The goal of the presentations is to share the findings as well as ideas for practical implementations in the classroom and curricula. Please look for links and invitations to the webinars on the JEN website and Facebook page. They’ll be live streamed on Facebook, but those who register for the zoom webinar will be able to ask questions and interact with the panelists. All previous presentations
can be accessed here.
Please feel free to share this news compilation and invite colleagues to join the mailing list and/orFacebook page. Remember to check the updated job listingshere. If you have new books/ articles/ dissertations published, send me the info to be included in the newsletter. Also send over ideas on how JENRing can help you in your jazz research and networking. Items of interest related to jazz research may also be shared on the Facebook page.
Sincerely,
Monika Herzig
JEN Research Interest Group Committee Chair
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Newsletter Sections
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Jump to any section by clicking below
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Jazz Musician Esperanza Spalding to Depart Harvard
By Paton D. Roberts and Eric Yan
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Prominent jazz musician Esperanza E. Spalding, a professor of the practice in Harvard’s Music Department, will depart the University, she announced in an email to department affiliates this week that was obtained by The Crimson.
Spalding wrote in the email that she has communicated with Harvard over “many months” about a proposal for a “decolonial education” curriculum she would like to implement as a course or initiative, but said what she aspires “to cultivate and activate in organized learning spaces is not (yet) aligned with Harvard’s priorities.”
Â
A five-time Grammy award winner, Spalding joined the Music Department as a part-time professor of the practice in 2017 and has taught courses on songwriting, performance, and musical activism.Â
Harvard typically appoints professors of the practice on five-year renewable contracts.
In an attachment to her email, Spalding included a description of her proposal for an educational initiative called “Black Artist-Educators Decolonizing and Placemaking.” She wrote that she believes the program would help institutions and instructors “move beyond metaphorical commitments to decolonial education, Black and Native solidarity (respectively), and reparations.”
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Playback with Lewis Porter Newsletter
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Follow the link below to subscribe to Dr. Lewis Porter’s monthly newsletter.
Dr. Lewis Porter is renowned for his research on all eras of jazz (as well as his piano playing). Now he is sharing his unpublished groundbreaking research once or twice a week in Playback With Lewis Porter! Ted Gioia, author of the acclaimed music newsletter The Honest Broker, and of many books, writes: “I've subscribed & I encourage others to do so too. Porter is the real deal—a genuine expert & trusted authority.” Richie Beirach, acclaimed pianist and educator, writes: "Very important stuff—you are the spiritual Sherlock Holmes of jazz history. And it could only be done so completely by a great player too!! Not just a researcher!! You’re able to put us right next to you at your desk while you are going down into the mine to uncover the diamonds of
information."
Posts so far have included unknown audio interviews with Miles Davis and Charlie Parker, the origins of Coltrane's compositions, quite a bit of new research on Billie Holiday, and much more. You can simply browse, or subscribe for free to have posts emailed to you as they are ready, or pay $50 a year ($40 until December 31) to get additional special content.
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A return to venues, guided by 'The 7th Hand'
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This year's most powerfully transporting jazz album got its hooks into me before I'd even tabulated last year's list. I'm not sure that has ever happened to me before, but The 7th Hand, the phenomenal sophomore effort by alto saxophonist Immanuel Wilkins, impressed early and often: Whenever I'd return to it over the course of the year, the album felt enduringly mysterious, sustaining and alive. Harmony Holiday, who penned its liner notes, praised Wilkins in our 2021 Year in Review by copping a term from the late critic Greg Tate: "spiritual genius."
Wilkins, who grew up playing piano for a Holiness-Pentecostal congregation in the Philadelphia area, distilled his metaphysics into the music on The 7th Hand. His deeply impressive band (with Micah Thomas on piano, Daryl Johns on bass and Kweku Sumbry on drums) excels in the kind of intuitive grace and dynamism required to distinguish a young crew in this lineage. But what sets them further apart is the consuming fervor of their commitment to the moment, and to each other: a glowing, intangible synonymy with the John Coltrane Quartet, among select others. I hear that quality all over the album, but it was something else to feel it rattling a room — as I did one evening in late January of this year, when Wilkins played an album-release show at PhilaMOCA,
co-presented by Ars Nova Workshop and WRTI and later featured by Jazz Night in America.
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BMI Future Jazz Master Award
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The BMI Future Jazz Master Award is an annual competition open to rising jazz stars enrolled at colleges and universities nationwide. The award was established by Broadcast Music, Inc. (BMI) in 2015 in honor of the National Endowment for the Arts (NEA) Jazz Masters Fellowship, a lifetime achievement distinction widely considered to be jazz music’s premier accolade, and pays tribute to the artistic excellence of jazz pioneers while providing crucial support for emerging performers.
A panel of NEA Jazz Master judges selects the winner based on evidence of talent and potential as a jazz performer and composer, and the scholarship is presented at BMI’s annual celebration of NEA Jazz Masters Fellows. Past judges include jazz legends Ahmad Jamal, Jack DeJohnette, Jimmy Heath, and Ron Carter.
Eligibility requirements:
In order to be eligible for the competition, all applicants must be:
Please direct all inquiries about the BMI Future Jazz Master Scholarship to:
info@bmifoundation.org.
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CALL FOR PAPERS: Art of Research Conference 2023
ART OF RESEARCH CONFERENCE 2023
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The Art of Research conferences has had a significant role in promoting continuous dialogue and fruitful convergence between art and design related research practices since its first edition in 2005. The conferences have contributed to the development of the rapidly growing and spreading contemporary discourse on artistic research, acknowledging and rethinking the multiple notions of research where artistic and creative practice are used as context for enquiry.Â
The theme of the eighth Art of Research conference is “Re-Imagining”, addressing the various gestures of going back, returning to take another look, or for starting anew. It suggests that research in the context of artistic and creative practice could have a special relation to time; simultaneously attaching itself to a prior moment in time and from there propelling imagination to unforeseen futures. The theme proposes reassessments where the evaluation of past events, integral to research, are in unison with the anticipation potential, integral to the arts. It wonders about new conceptions of an idea, place, space, object, ways of doing and making that emerge from a reverse glance — the challenges, updates, and improvements.Â
We invite submissions to the conference that are original proposals and contribute to new praxis and research through art and design. This conference brings together researchers from different fields of arts, media, design and architecture, while also extending a warm welcome to related presentations coming from other fields
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University of Melbourne- Roads, Bridges, and Intersections
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The theme for the 2023 AJIRN conference theme is Roads, Bridges, and Intersections. Broadly speaking, this theme asks participants to think about infrastructure: the systems put in place by individuals, communities, presenters, governments, funding groups, and other organizations, that enable artists to communicate, collaborate, and develop their careers. We hope that this theme will motivate discussions at the local, national, and global level over the practical challenges and possibilities associated with the current political and cultural economy. Importantly, this theme is intended to encourage critical perspectives that question established assumptions and
attitudes, as well as words and music that reveal the transformative possibilities of a more inclusive network for jazz and improvised music – one that values and promotes the expressions of, andÂ
collaborations between practitioners from diverse personal, social, and cultural backgrounds.
We welcome proposals for individual papers, performances, panel discussions, and mixed formats that engage this theme. We are planning for a hybrid conference with robust on-the-ground activities but also opportunities for remote participation.
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Anton Bruckner Private University:
B-Call 2024 - Anton Bruckner Doctoral Scholarships
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On the occasion of the bicentenary of Anton Bruckner's birth, the Anton Bruckner Private University is offering three doctoral scholarships in the fields of academic and artistic-scholarly doctoral studies. Funding totalling € 50000 is available for the three scholarships.
Deadline for application 17.2.2023
Applicants are free to choose the specific topic of their doctoral dissertation. In principle, however, the funded doctoral projects must research "Anton Bruckner", "The Work of Anton Bruckner", "Anton Bruckner's Influences and/or Aftermath" either from a musicological, cultural studies, music-historical, or pedagogical perspective, or address Bruckner in the context of an artistic-scholarly dissertation through research into the applicant's own artistic practice. Â
The Bruckner Scholarships are offered in the following disciplines
In the artistic-scholarly doctoral programme
The objective of an artistic-scholarly doctorate is the realisation of a research project in which artistic and scholarly methods are related to each other and the result of the research becomes comprehensible and communicable on both levels. It is fundamental that the research project uses the student's own art practice as its central focus. Research questions and central research methods are developed from and lead back to the art, knowledge, and practice of the artists.Â
Artistic research also uses methods from other sciences and often works in an interdisciplinary manner, but is fundamentally research for art, through art, and with the means of art.
In the academic doctoral programme
The academic doctoral programme imparts and promotes theoretical understanding and methodological competencies at postgraduate level with the aim of providing young researchers with the ability to carry out critical, independent, and original academic work over and above their academic professional training. The doctoral programme at the Anton Bruckner Private University as an artistic university, with its strong departments in historical musicology, cultural studies, music education and dance studies, explicitly supports interdisciplinary approaches and encourages artistic and scholarly topics, methods, and findings, as well as dissemination and mediation formats to relate directly to each other.
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Stockholm University of the Arts
Lethe - International Symposium on Forgetfulness in Artistic Processes
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Stockholm University of the Arts welcomes you to Lethe - International Symposium on Forgetfulness in Artistic Processes to be held on 2-4 March, 2023.
Using the mythological river Lēthē as a metaphorical point of departure, musicians Anna Lindal, Andreas Hiroui Larsson, and Johan Jutterström conduct a research project on forgetfulness as a method and guiding principle for an artistic process.
With this symposium we invite you to discuss and investigate forgetfulness from a wide spread of perspectives, e.g., improvisation, memory, and time, in order to hopefully be able to draw conclusions on if and how forgetfulness can be applied to an artistic practice.
How can forgetfulness be an artistic tool?
Will forgetfulness and the river Lēthē enable us to become artistically reborn by way of aiding us to forget our musical habits and traditional reasonings?
What are we willing to forget?
Lecturers
Freya Bailes (Keynote speaker) -Â Associate Professor in Music Psychology, University of LeedsÂ
Christian Wolf (Keynote speaker) -Â Composer, Strauss Professor Emeritus in Music, Dartmouth College
Marcia Cavalcante Schuback - Professor in Philosophy, Södertörn University
Røgnvaldur Ingthorsson - Associate Professor in Philosophy, University of Helsinki
Katt Hernandez - Violinist, PhD-candidate, Lund University
Toby Kassel - Choreographer and Dancer Lethe Research Group
Anna Lindal - Violinist, Professor Emerita in Music
Johan Jutterström - Saxophonist, PhD in Music
Andreas Hiroui Larsson - Percussionist, Master in Music, Researcher
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Saxophone Colossus: The Life and Music of Sonny Rollins
by Aidan Levy
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This year's most powerfully transporting jazz album got its hooks into me before I'd even tabulated last year's list. I'm not sure that has ever happened to me before, but The 7th Hand, the phenomenal sophomore effort by alto saxophonist Immanuel Wilkins, impressed early and often: Whenever I'd return to it over the course of the year, the album felt enduringly mysterious, sustaining and alive. Harmony Holiday, who penned its liner notes, praised Wilkins in our 2021 Year in Review by copping a term from the late critic Greg Tate: "spiritual genius."
Wilkins, who grew up playing piano for a Holiness-Pentecostal congregation in the Philadelphia area, distilled his metaphysics into the music on The 7th Hand. His deeply impressive band (with Micah Thomas on piano, Daryl Johns on bass and Kweku Sumbry on drums) excels in the kind of intuitive grace and dynamism required to distinguish a young crew in this lineage. But what sets them further apart is the consuming fervor of their commitment to the moment, and to each other: a glowing, intangible synonymy with the John Coltrane Quartet, among select others. I hear that quality all over the album, but it was something else to feel it rattling a room — as I did one evening in late January of this year, when Wilkins played an album-release show at PhilaMOCA,
co-presented by Ars Nova Workshop and WRTI and later featured by Jazz Night in America.
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VIS 8- Of Rules and Alternatives
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On 18 November, issue eight of VIS – Nordic Journal for Artistic Research was released, with the theme “of Rules and Alternatives”. The editors of the issue are Serge von Arx and Eliot Moleba. VIS #8 oscillates between established structures and their innate disturbances. The seven expositions operate in the blind spots and on the fringes of the arts, they open up new perspectives and frames, and recontextualize what is hidden in well known areas.
This is VIS’ first co-edited Issue, an endeavour that has not only deviated from our established norm, but also potentially introduced an alternative way to organise our editorial process, which, in its own right, is within the ecology of the very theme. The two editors, Serge von Arx (who has been a member of the editorial board since its beginning) and Eliot Moleba (who had just started as a new member to the board), met for the first time when they initiated the co-editorial process, as a dialogic form of thinking and questioning. We wanted to create an issue that gave room to artistic research situated in the duality between the known and unknown, the old and new, the established and the subversive to highlight the ambiguity, the blurry, and the liminal
that more and more identifies emerging art contexts beyond commodification and clear demarcation, art that emerges and lives on the fringe.
The Expositions in the issue are:
Vietnamese Diasporic Voices: Exploring Yellow Music in a Liminal Space by Nguyễn Thanh Thủy
In circles leading on – folkdance, a choreographic intersection by Andreas Berchtold
Circular Bowing, Cyclical Work by Karin Emilia Hellqvist
A to Z: Visualising Every Word in the Dictionary in Alphabetical Order by Dave Ball
Back to present by Thalia Hoffman
Traditioning, dissolving (Tradering, oppløsing) by Ingfrid Breie Nyhus
Tree of Dawn: Translation as a Method by Aurora Del Rio
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Reflectory: The Life and Music of Pepper Adams
by Gary Carner
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The 400-page biography, with a foreword by Chick Corea, includes links to 450 Adams recordings from 1947–1986. Half of them, from the author’s private collection, have never before been made available to the public. Reflectory, my second Pepper Adams work, is the biography I promised him I’d write when he was dying of cancer. I had absolutely no idea that my Adams research would first splinter in so many different directions – the annotated discography, the complete recordings, lyrics to his ballads, big band arrangements, the Instagram page, this web site – before I actually sat down and began to write this. Please see the blog that I post on the first
Monday of each month to keep abreast of my work.
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A Music Pedagogy for Our Time
by Frank Abrahams
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School education in all disciplines is changing. School teachers—including music educators—now need to be aware of a wide range of issues, including social justice, cultural responsiveness, integrating technology, composition and improvisation, critical thinking, social and emotional learning, and how to foster a community of practice.
How do music educators best understand the hot-button issues of today—culture wars, critical race theory, and much more—and at the same time create positive and proactive musical experiences for their students?
In A Music Pedagogy for Our Time, Frank Abrahams and his colleagues offer solutions. The authors provide a framework so music teachers can both be aware of these issues and create supportive opportunities for students to learn—without compromising the goals that have been and will continue to be the foundation of school music programs. Each chapter in this book focuses on a topic that defines a problem and then poses potential solutions.
This ambitious book advocates for critical pedagogy, reciprocal teaching, and popular music pedagogy, and provides templates to develop lessons and rehearsals that are meaningful and significant to students in the twenty-first century.
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Configuring the Field of Character and Entertainment Licensing:
The Licensing Expo and Other Sites of IP Management
by Avi Santo
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This book examines the creative impact of licensing on the entertainment industry, how licensing practitioners’ occupational disposition is formed, and the role licensing professionals play in managing the circulation of intellectual property.
Offering a study of the spatial logics and fantasies employed by the licensing field via its annual trade show, the Licensing Expo, this volume investigates how space and place are instrumental in both fortifying and exposing the political-economic, infrastructural, as well as ideological structures that constrain and enable participation in the licensing field. Further supplemented by participant observation and interviews with 23 industry professionals, the book explores how the licensing field understands its increasingly central role in the entertainment industry’s operations, and how it responds to changes in retail environments, digital platforms, and international markets, phenomena which have required a recalibration of the field’s occupational
identity.
An exploration of an understudied aspect of the entertainment industry, this book will primarily appeal to scholars within media studies, and those studying media industries, media franchises, and media work cultures. It will also be of interest to people studying consumer culture, brand culture, advertising, organizational communication, as well as fan cultures.
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