News, callouts, conferences, jobs, and more...

November 2023

Friends,

Welcome to the Novemberr edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities. Only a few more weeks until the conference, so looking forward to seeing everyone!. Research presentations and poster sessions will be Thursday and we’re planning on a JENRing meeting on Friday 11am to introduce the mentoring initiative and provide info on how to prepare articles for the journal. Volume 5 of Jazz Education in Research and Practice (JAZZ) will be ready and available at the conference. Send me a note at jazzpianomonika@gmail.com if you’re into a  dinner gathering of our JENRing members and presenters on Thursday evening. It was wonderful to connect in Orlando with many of you and it would be great to catch up and share about projects and more. Just like last year everyone will buy their own dinner but we can all spend some time together.

The JEN Research Interest Group hosts a monthly series of webinars 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, the next webinar will be in February. 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.

The JENRInG mentoring initiative has nearly completed its first year! We are happy to report that six productive mentoring teams have collaborated since our 2023 JEN Conference. We are excited about this new program and would like to share our experiences and more about JENRInG mentoring with 2024 conference attendees. We will discuss the mentoring program at our meeting Friday, January 5 at 11am in Bolden 4 at the conference hotel with our mentoring chair, Dr. Tish Oney. All JEN members and conference attendees are invited to attend and learn about all the great JENRing initiatives. Come and learn how JENRInG’s free mentoring initiative can both enhance your professional research goals and benefit our journal, Jazz Education in Research and Practice.

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 listings here. 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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NEWS

Wynton Marsalis reflects on the way time flies, as Jazz at Lincoln Center Orchestra plays a program full of his work

by Alexander Varty

WHEN WYNTON MARSALIS and the Jazz at Lincoln Center Orchestra play an all-Marsalis program at the Orpheum on October 10, it will mark a significant departure from their usual practice: honouring the giants of the jazz past by reconstructing their music for the jazz present.

Previous JLCO concerts and recordings have honoured such foundational figures as Louis Armstrong and Duke Ellington, bebop and post-bop innovators Charlie Parker and Charles Mingus, and even relative radicals like fusion pioneer Chick Corea and free-jazz mastermind Ornette Coleman. But as the ensemble’s artistic director since 1991, Marsalis has always been shy of presenting his own work with the band in such a comprehensive fashion.

With Marsalis due to turn 62 this fall, should we see this change of focus as some kind of career overview or retrospective?

Not on your life.

Antonia Bennett Used to Sing With Tony. Now She’s Carrying On Solo

by Elysa Gardner

Antonia Bennett’s childhood had some unique charms. There were the parties, where the likes of Rosemary Clooney, Ella Fitzgerald and Mel Tormé would gather around the piano and sing. There were the times Bennett’s father, Tony, took her to work, beginning when she was about 5, and gave her an early taste of the spotlight.

“My dad would just bring me up onstage, and we would sing together,” Bennett recalled in a recent interview. “I guess it started with ‘The Hokey Pokey’ and ‘Santa Claus Is Coming to Town,’ and then I graduated to ‘Puttin’ on the Ritz,’ and we just kept going from there, you know?”

Bennett, 49, is the younger of the crooner’s two daughters by the second of his three wives, the actress Sandra Grant Bennett. Over the years, she too has sung professionally, releasing a 2014 album, “Embrace Me,” and an earlier EP that mixed traditional pop standards with a cover of Pat Benatar’s “Love Is a Battlefield.” For the first time since her father’s death in July at 96, she is preparing to take the New York stage — and start her career anew.

“It was such a privilege to be able to get to know my dad in my adult life, and to spend so much time traveling and performing with him,” said Bennett, who regularly opened for her father and was his featured duet partner at major venues and festivals until his retirement from the stage. “And I learned so much from him.”

Five Minutes That Will Make You Love Thelonious Monk

We asked Jon Batiste, Arooj Aftab, Mary Halvorson and others to share their favorites.

For over a year, The New York Times has been asking musicians, writers and scholars to share the music they’d play for a friend to get them into jazz. Now we’re focusing on Thelonious Monk, the innovative pianist and bandleader whose angular melodies and dissonant chords made him stand out among his peers in the bebop era.

Where other pianists played light chords with their left hand and quicker notes with the right, Monk played equally complicated notes with both hands, leading to complex arrangements that traversed the entire scale. But he never overplayed; his use of space between the notes elicited peace and tension equally.

“Those clashing intervals, you know?” the Monk biographer Robin D.G. Kelley once said. “Sometimes he’ll play, like, an F and F sharp at the same time.”

Monk was born in 1917 in Rocky Mount, N.C., and his family moved to Manhattan when he was 4. At 9, after briefly studying the trumpet, Monk started playing the piano in church and at rent parties. He attended Stuyvesant High School for two years before dropping out to play on the road with an evangelist. Monk’s big break came in 1941 when the drummer Kenny Clarke hired him to be the house pianist at Minton’s Playhouse in Harlem. It’s been said that’s where bebop was born: Charlie Parker, Max Roach, Mary Lou Williams and others would jam all hours of the night crafting this new sound.

Monk’s solo career didn’t really take hold until the ’50s when, as a bandleader signed to Prestige Records, he recorded different ensemble sets with Sonny Rollins, Miles Davis and Art Blakey, which escalated his momentum. Shortly after he signed with Riverside Records in 1955, he broke through with the album “Brilliant Corners,” an acclaimed LP seen as the true launching point of his career. He played clubs throughout New York City, gigged with John Coltrane and recorded with Gerry Mulligan, then led big bands from the late 1950s to the early ’60s. In 1964, Time put Monk on its magazine cover — the fourth jazz musician in history to appear there.

Yet you can’t talk about Monk without acknowledging his erratic behavior. He had mental health challenges and was first hospitalized in 1956; he got into a car accident and was uncommunicative when police arrived. Years later, he was diagnosed with depression. Onstage, he would sometimes get up from the piano and start dancing, leading some to believe these were autistic episodes. Others say he used dance as a way to convey to his band what he wanted to hear musically. Either way, Monk is on the Mount Rushmore of jazz, and deserves all the reverence he gets for shifting its modern sound. Below, we asked 11 musicians and writers to share their favorite Thelonious Monk songs. Enjoy listening to their choices, check out the playlist at the bottom of the article and be sure to leave your own picks in the comments.

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CALLOUTS & CONFERENCES

Nowegian Academy of Music: Artistic research! Where are we today?

Music & Practice celebrates its 10-year anniversary by publishing a thematic issue on artistic research. The issue contains an enquête in which Clive Brown, Anthony Gritten, Mieko Kanno, Daniel Leech-Wilkinson, Anna Lindal, Hans Knut Sveen and Luk Vaes discuss AR. You will further find articles on practice studies and artistic research written by Barbara Lüneburg, Jessica Kaiser, Inja Stanovi? and Jeroen Billiet, Mikael Bäckman and Erlend Hovland.

The next deadline for contributions to Music & Practice is 1 February 2023. We welcome works on practice studies, performance studies and artistic research in music.

contact: erlend.hovland@nmh.no

Enquête: Artistic Research! Where are we today?

by Anders Førisdal & Christina Sofie Kobb | Read Full Text

• Clive Brown

  • Emeritus Professor, University of Leeds, and Guest Professor Universität für Musik und darstellende Kunst, Wien | Read Full Text

• Anthony Gritten

  • Head of undergraduate programmes, The Royal Academy of Music, London. | Read Full Text

• Mieko Kanno

  • Professor of Artistic Research in Music Performance, Sibelius Academy, Uniarts Helsinki. | Read Full Text

• Daniel Leech-Wilkinson

  • Emeritus Professor of Music at King’s College London. | Read Full Text

• Anna Lindal

  • Independent violinist and artistic researcher. | Read Full Text

• Hans Knut Sveen

  • Associate professor, harpsichord (1995-2023) at the Grieg Academy, University of Bergen. | Read Full Text

• Luk Vaes

  • Senior researcher of the ORCiM research group, coordinator of the doctoral programme for artists at the Orpheus Institute in Ghent and the Royal Conservatoire in the Hague. | Read Full Text

SAR International Forum on Artistic Research 2024 | 10-12 April 2024 Fontys Academy of the Arts, Tilburg, The Netherlands

We are excited to announce the Society for Artistic Research (SAR) International Forum on Artistic Research 2024. The Forum is hosted by Fontys Academy of the Arts, Tilburg, and co-curated and co- developed with SAR to be a new and innovative biennial format, that will alternate with the already established SAR conferences: we invite artistic researchers, artists and practitioners, as well as policy makers and stakeholders from diverse backgrounds who share a deep interest in the current overall, larger and general issues and opportunities in artistic research to engage in a thought- provoking and stimulating dialogue. We hope this will allow for the fostering of connections and the building of community relationships that will shape the future of and for artistic research.

The Forum 2024 aims to address, explore and negotiate challenges, visions and opportunities for artistic research and in contemporary society. In particular critical issues and questions that relate to:

• the ethical dimensions of artistic research and the responsibilities when navigating this complex What do and how should ethics ‘look’ for artistic research, and who and how should they be managed and implemented?

• the spaces, places and contexts of artistic research: What should a progressive and responsive research environment for artistic research and artistic researchers on all educational and career levels look like?

• the challenges and opportunities of Artificial Intelligence for artistic research(ers): How and when does Artificial Intelligence create new directions for artistic research? What supports or hinders artistic research and Artificial Intelligence to coalesce and collaborate mutually and productively?

We invite both established experts and emerging voices in the field of artistic research to actively participate, share their insights and practice, and imagine the central role of artistic research in addressing the societal challenges of our time. More details about this new biennial meeting format of the SAR International Forum on Artistic Research, designed to encourage active participant contributions beyond the traditional SAR conference format, will be revealed soon. Stay tuned for updates!

So, save the date for the SAR International Forum on Artistic Research 2024!

Date: 10-12 April 2024, including the Special Interest Groups’ meetings and the SAR General Assembly on 11 April, as well as a Portal Partner Stakeholder Meeting on 12 April.

Location: Fontys Academy of the Arts, Tilburg, The Netherlands.

contact: sar2024@fontys.nl

2023 Grainger Symposium: New Media and Old Archives: Exploring Twentieth-Century Music, Media and Technology

Join the University of Melbourne’s Grainger Museum for a symposium exploring music history, composition, and performance in the context of innovation, exploration and engagement with new media and new technologies.

Hear an international panel of academics and researchers respond to historical and contemporary ideas of music, new media and the archive. Topics range from historical considerations of the genres and technologies dominant during the lifetime of Percy Grainger (1882–1961) to current digital media responses to music research and material in music museums and archives.

Program

Session 1: Engaging with the Archive Today
9:00am: Filipa Magalhães (Universidade NOVA de Lisboa) – Gulbenkian Contemporary Music Meetings (1977-2002): Reflections on Archival Practices and the Benefits of Interdisciplinarity for the Treatment of the Documentation
9:30am: Jörg Holzmann (Hochschule der Künste, Bern) & Christoph Siems (Grieg Begegnungsstätte, Leipzig) – The Piano Roll as Soloist – Grieg’s Piano Concerto and Early Recordings Informed Performance Practice
10:00am: Monica Lim (University of Melbourne) – Music, Technology and Living Archives at the Grainger Museum.

BREAK 10:30 – 11am

Session 2: Percy Grainger and Musical Experimentation
11:00am: Paul Jackson (Independent) – Lines of Beauty: The Development of Graphic Notation in the Music of Percy Grainger
11:30am: Teresa R. Balough (Eastern Connecticut State University) – The Wider Implications of Percy Grainger’s ‘Free Music’
12:00pm: Katherine Pittman (University of California San Diego) – Hearing Queer Hybridity in Percy Grainger’s Experimental Instruments

BREAK 12:30pm – 2:00pm

Session 3: New Technology and New Media
2:00pm: John Gabriel (University of Melbourne) – New Audiences, New Challenges: Radio Music Theatre in Weimar Republic Germany
2:30pm: Maurice Windleburn (University of Melbourne) – Indexicality and Disjuncture in the Creative Use of Cards and Paper Slips
3:00pm: Michael Christoforidis (University of Melbourne) – Igor Stravinsky’s Étude (1917) and Composing for Pianola

BREAK 3:30pm – 4:00pm

Session 4: Radio and Recording
4:00pm: Jean-Baptiste Masson (Université Rennes-2) – The sound art of amateur sound hobbyists in the 1950s and 1960s, in France and Britain
4:30pm: Martin Elek (University of Cambridge) – Wilhelm Furtwangler and Sound Recording
5:00pm: Pedro Moreira (Universidade de Évora) – Portuguese National Radio, ethnographers, and the documentation of traditional Music during the 1940s
5:30pm: Michelle Ziegler (ETH Zürich) – Recording Realities: Edgard Varèse as a tape and film music composer

Youth Jazz Orchestra Commissions Project

Follow the link below for the application form for young composers (aged 18 to 25) to take part in the Youth Jazz Orchestra Commissions Project.

The project as a whole will see ten British jazz composers, including the two selected young composers, write a new piece for youth jazz orchestra which will be premiered by ten youth jazz orchestras across the north of England in the summer of 2024.  Other jazz composers already taking part in the project include Nikki Iles, Mike Walker, Laura Jurd and Dennis Rollins.

The two selected young composers will each be invited to write a new piece for jazz orchestra (max. 5 to 6 minutes including improvising).  They will also receive mentoring support from Nikki Iles (January to March 2024).

The fee for the commission is £150 plus, where possible, a fee of £100 for each young composer to visit a youth jazz orchestra for a half day to rehearse and workshop their piece.

Thank you for taking the time to apply as a young composer. 

This application form will take 10 to 15 minutes to complete.  To apply you will need to answer all of the questions below.  You will need to include videos or tracks of some of your previously recorded music that reflects your output as a composer (max. 5 minutes).

Please note: for those who are composing for the first time or don't have their compositions recorded, please include videos or tracks of any performances that reflect your output as a musician (max. 5 minutes).

Important: recordings, videos and tracks do not need to be high quality.  They can be sent as links within this form (e.g. YouTube link), or sent separately via WeTransfer.

If you have any questions, please contact Jo at jazzorchestracommissions@gmail.com

If you would prefer to apply by video, please film yourself answering the questions in the form below and send the video, plus your recordings, via WeTransfer to jazzorchestracommissions@gmail.com

Epistrophy: Call for papers #6: Places for jazz in 21st-century Europe

Throughout jazz history, changes in the places and contexts of dissemination have been closely tied to the rapid succession of styles and currents. These changes constantly inform who should play what, for whom, and how. The idea of a centre, the United States, and a fringe, the rest of the world, is widely debated in both jazz production and research, even in the earliest periods. It is necessary to consider the diverse range of locations, their associated portrayals, and their interconnections: dance venues, clubs, festivals, recording studios, schools, and so forth.
The concepts of space, place, area, and territory are often muddled. Despite their distinctions, they all categorise space and hence complement each other. The term "place" refers to a particular section of space that can be either discrete or restricted by physical, abstract, or symbolic boundaries. Jazz venues are typically defined based on the jazz activities occurring or occurred there. It is worth considering how a location restricts or shapes jazz. That said, it can serve as a place for jazz’s inception, production, dissemination, consumption or education.

The rise of the internet and the COVID-19 pandemic have significantly altered the dynamic between music and production spaces. Both digital and physical venues are subject to the interplay between the globalization of music distribution and the localization of production. Defining the jazz object, which is in a state of perpetual redefinition, has become more challenging than ever. Regardless of whether they are geographical or musical, boundaries have become porous and fluid. Nevertheless, they continue to be an issue of artistic and economic influence. Strong jazz identities have developed in various European countries over time, as a result of specific relationships between the territory, reception, and local musical traditions. The dissemination and teaching of jazz, supported by cultural policies, is a crucial element in this process. The development of European networks in these fields also contributes to the growth of jazz. The jazz scene in Europe is characterised by its diverse geography and styles, the crucial roles of jazz festival and club presenters and public authorities, the emergence of new venues, international collaborations, and its resilience amid challenges such as the pandemic. It remains an integral component of the global music scene, continuously evolving while retaining its roots and influence. Against this background, one should consider how and where jazz has been produced over the past five decades in Europe. It is important to scrutinise the relationship between venues, practices, and audiences, in an effort to comprehend the current reconfigurations, which will shape the future European jazz scene. To offer some insight into this issue, a number of lines of inquiry are suggested.

They are not exhaustive, but are intended to bring together the issues facing the sector in three main areas.

The field and object
The comprehension and boundaries of ’place’ and ’jazz’ fluctuate across disciplinary approaches: musicology, sociology, ethnomusicology, and so forth. The jazz distribution sector has undergone significant impacts due to shifts in cultural and musical practices in the last five decades. The rise of the internet has revolutionized the way artists and audiences convene and engage with each other. The definition of the "jazz object" just as much as that of the venues within the constantly evolving jazz field can be questioned. To what extent do spatial and social contexts contribute to shaping jazz practices?

Networks
The distribution networks undergo a constant reshaping through complex interactions between its various stakeholders including presenters, media, musicians, teachers, audiences, and governing bodies. The interplay between public cultural policies, private interests and groupings of artists and promoters contributes to creating a distinct geography for jazz in each European country, shaped by their unique historical contexts. The conditions offered to artists and their creative freedom are determined by negotiations, political and financial influence, and cultural heritage. It is crucial to thoroughly assess the situation in each region at various levels (city, region, country) and connect them to global dynamics at the European level to understand what is heard, to whom it is directed, and within which frameworks. Are specific patterns discernible in the various varieties of networks: their conception, replication, dispersal, and absorption (Leyshon, 1998)?

Crises
The jazz distribution sector has faced numerous crises in the past five decades. The financial sustainability of venues, obtaining public funding for live performances, and revitalizing audiences remain significant and ongoing challenges for both jazz musicians and venues. A historical viewpoint considering the economic, artistic, cultural, territorial, and institutional aspects of the sector can aid in comprehending the potential approaches to address these issues. The COVID-19 pandemic and the hindsight gained from it have highlighted the fragility of systems and the interdependence of all players involved. Could this insight aid in our ability to anticipate and potentially prevent future crises in the medium term?

Submission guidelines

Please send proposed work to epistrophy@epistrophy.fr by 9th February 2024.
Proposals must include :

• a title;

• an abstract of approximately 3000 characters;

• a brief bibliography;

• a short bio-bibliography of the author;

• The editorial board of the journal will choose the submissions and notify the authors no later than 8th March 2024.

Following acceptance, authors must submit their complete article by 10th May 2024 at the latest for publication in the summer 2024 issue.
All invited pieces will be double-blind peer reviewed.
Articles should not exceed 30,000 characters (excluding spaces, notes, and bibliographies) and may include separate photo, music, or video files as per the charter’s specifications.

Lucerne University of Applied Sciences and Arts – School of Music

PhD Artistic Research in Lucerne - Call for Applications 2024

In 2022 the Lucerne School of Music (Switzerland) introduced a collaborative program with the University of Music Freiburg im Breisgau (Germany) that offers a new educational pathway following a Master of Arts in Music or Music Education: the PhD in Artistic Research.

The PhD in Artistic Research is a postgraduate program that closely combines music practise and music research. The education culminates in the conferral of an internationally recognised doctoral degree by the University of Music Freiburg. The focal point resides in cultivating scholarly acumen, nurturing research proficiency, and fostering musical-artistic excellence, with the option of specialisation in the domains of performance (classical or jazz), conducting, or composition.

The curriculum includes comprehensive instruction in music practise and research methodologies, complemented by mentoring from both artistic and academic supervisors. Collaborative colloquia with other institutions offer avenues for interaction within a global community of PhD scholars specializing on Artistic Research.

Please note that we offer pre-doctoral mentoring for young musician-researchers interested in pursuing a PhD in Artistic Research. Feel free to contact our PhD Artistic Research Coordinator with any further questions.

Application deadline: February 28, 2024
Start of studies: Monday, September 16, 2024

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RECENT PUBLICATIONS

Jazz and Death: Reception, Rituals, and Representations

by Walter Van Der Leur

A fascinating study showing how jazz and death have intertwined over the years.

A fascinating exploration of how jazz and death have been narrated and mythologised through a range of diverse case studies.

Released as part of Routledge Transnational Studies in Jazz series, Jazz and Death Reception, Rituals, and Representations is an informative and fascinating deep dive into the jazz and death narrative. Seven chapters containing case studies on a wide range of areas, the author gives a thought-provoking analysis of how and why we celebrate our jazz legends.

Starting with the New Orleans ‘Jazz Funeral’, the author explores the roots of this tradition and how it has been shaped into today society comparing tradition with inevitable commerciality. The rich history of New Orleans is examined including the impact of the famous funeral scene in the James Bond Movie Live and Let Die compared with traditionalist and New Orleanian Wynton Marsalis’ role in Dizzy Gillespie’s funeral in New York, 1993.

Chapters two and three explore heaven and hell, investigating the roots of how jazz became known as the ‘devils music’. The author quite rightly is quick to point out that jazz was not the first genre to be considered evil and explains that in 1920, the waltz was considered the ‘dance of death’ with Thomas Faulkner protesting that young women would ‘lose their virtue because of the waltz’. The arrival of jazz saw more so called ‘moral panic’ and the representation of the music and its musicians claimed that jazz led to madness, self-destruction and addiction. Contrasting this in chapter three with the celestial references when analysing the impact of Louis Armstrong and John Coltrane the author gives an insightful analysis of how ‘music has the power to call up the demonic and the divine’.

We move onto ‘Swan Song’s’ and the famous last recordings and last performances of our legends. The author raises awareness of the inaccuracies of some of these reported last recordings and also explores the questions that arise taking into account that not only did the artist not give permission for these final recordings, they didn’t know it would be their last performance and how their ’final’ words have sometimes been mythologised.

Chapters five and six explore the complexity of memorials through a case study of Chet Baker and Duke Ellington. Chet’s death from falling from a balcony in Amsterdam, led to many initiatives to commemorate the spot while also raised questions about the message this would be sending to the community and the wider jazz world. Duke Ellington’s highly controversial memorial in New York opens the door to a wide range of complexities. An initiative led by pianist Bobby Short, the 10 foot high statue is supported by three columns of naked women and was installed in 1997 at what is known as the ‘Gateway to Harlem’. A very timely discussion.

The final chapter, ‘Is Jazz Itself Dead’ is a brilliant investigation into the theory that jazz keeps dying and coming back. The death of jazz was first stated in 1923 ‘this jazz craze is really dying out, slowly but surely’ and the author takes us through its inception to the current state of play contrasting traditionalists, such as Wynton Marsalis, who is referenced a lot in the book, with Miles Davis. Their famous feuds are fascinating -  ‘They call Miles’ stuff jazz. That stuff is not jazz, man’ and Miles’ response, ‘what’s he doing messing with the past?  A player his calibre, should just wise up’. A brilliant final chapter and definitely food for thought.

A hugely enlightening and engaging book. Highly recommended.

Zentrum Fokus Forschung, Univeristy of Applied Arts Vienna

On Certain Groundlessness - Navigating Dizziness Together

by Ruth Anderwald, Leonhard Grond, & Sergio Edelsztein

Do you like to tread on unsteady ground? Do you enjoy the view from a high-rise building, balancing over a high wire or following the allure of the unknown and uncertain?

This is a podcast as an artistic research endeavour – a piece of PodArt – that will get your head spinning, proposing artworks alongside conversations.

‍

Following the pleasures and risks of becoming dizzy, we, artists duo Ruth Anderwald + Leonhard Grond and curator Sergio Edelsztein, have the immense pleasure of discussing dizziness with brilliant artists, writers, musicians, political scientists, philosophers, historians, mathematicians, urban planners, curators and other thinkers and creatives from Europe, North and South America, South East Asia and the Middle East. We’re excited to discuss and learn something unexpected along the way as our guests talk about their ideas about dizziness, uncertainty, and anxiety, the generative and destructive potential these states yield in our personal and social lives and environments, and eventually propose ways of navigating dizziness individually and collectively. When do we enjoy getting dizzy? When does it constitute a risk, and what risks are worth taking individually and as a society?

‍

With contributions by Gloria Benedikt, Katrin Bucher-Trantow, Michael Butter, Gabriela Carneiro da Cunha, Davide Deriu, Tim Etchells, Karoline Feyertag, Dani Gal, María Auxiliadora Gálvez Pérez, David Grubbs, Ran Holtzmann, Anna Kim, Gal Kronenberg, Philippe-Alain Michaud, Dan Novy, Alice Pechriggl, Letizia Ragaglia, Evdokia Romanova, Grace Samboh, Katja Schechtner, Başak Şenova, Ben Spatz, Trevor Paglen, Ursula Prutsch, Angelos Varvarousis, Ilan Volkov, and others.

Produced in spatial audio, this PodArt is best enjoyed with a high-quality headset.

Special Issue of Women in Music

edited by Lisa Barg, Kimberly White, and Vanessa Blais-Tremblay

with guest editors Terri Lyne Carrington, Aja Burrell Wood, and Tracy McMullen

The special issue of Women and Music: A Journal of Jazz and Culture devoted to the Berklee Institute of Jazz and Gender Justice and the 2020 symposium, Return to the Center: Black Women, Jazz, and Jazz Education is now out!! Get the latest from Angela Davis, Carrie Mae Weems, Gina Dent, Farah Jasmine Griffin, Nichole Rustin, Robin D.G. Kelley, Rashida Braggs, Paula Grissom Broughton, Sherrie Tucker, Jordannah Elizabeth, Shana L. Redmond and more!!!

Jazz and American Culture

edited by Michael Borshuk

Almost immediately after jazz became popular nationally in the United States in the early 20th century, American writers responded to what this exciting art form signified for listeners. This book takes an expansive view of the relationship between this uniquely American music and other aspects of American life, including books, films, language, and politics. Observing how jazz has become a cultural institution, widely celebrated as 'America's classical music,' the book also never loses sight of its beginnings in Black expressive culture and its enduring ability to critique problems of democracy or speak back to violence and inequality, from Jim Crow to George Floyd. Taking the reader through time and across expressive forms, this volume traces jazz as an aesthetic influence, a political force, and a representational focus in American literature and culture. It shows how Jazz has long been a rich source of aesthetic stimulation, influencing writers as stylistically wide-ranging as Langston Hughes, Eudora Welty, and James Baldwin, or artists as diverse as Aaron Douglas, Jackson Pollock, and Gordon Parks.

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