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

January 2023

Friends,

Welcome to the January edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities. The conference in New Orleans was absolute magic. All the research presentations and poster sessions were informative, inspiring, and very high quality with packed rooms, often standing room only. I’m hoping that many of these projects will be published in JAZZ (Jazz Education in Research and Practice). Volume 5 of JAZZ was published in time for the conference, and is now available at https://iupress.org/journals/jazz-education-in-research-and-practice/ with a special discount for JEN members at $15 per issue. Please make sure your library has the journal available for students and include articles in your required reading lists for your classes. This will disseminate all the important information and support future issues of the journal. As a reminder: we now have rolling submissions, which means you can submit an article any time. However, to be included in the nest issue, please submit by April 30. 

A few noteworthy updates: 

• The Jazz Research Fellowship will be launched again this year. Look for the callout soon for submissions to receive $5000 fellowship support from the Ella Fitzgerald Charitable Foundation for a noteworthy jazz research project. 

• The Jam Music Lab University Vienna is holding auditions at the Austrian Cultural Forum in New York, applications are open until April 10. Here is complete info, a great opportunity to study in the cultural metropole of Europe.

• Our group Sheroes is celebrating the 10th Anniversary with the release of our 4th Album produced by Lenny White. We have a current Kickstarter campaign to finish the project - check it out here and share often.

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 February 3, 3pm with Jordan Ferrin - Thoughts and Commentary Regarding Musical Understanding and Aural Learning from the Introduction to and Reinforcement of Audiation for the Novice Jazz Student. It’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 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

⬇️ FREE WEBINAR ⬇️

Aural Learning & Audiation in Jazz

with Jordan Ferrin

Friday, February 2 • 3:00pm ET
Zoom (Members) & Facebook Live (Non-Members)

How does the mind represent and retain musical knowledge? What might that knowledge look like, and more importantly, why is that knowledge meaningful? The concept of audiation, the way in which we give syntactic meaning to the music we engage, is proposed to offer an answer for not only how we engage with music, but how we learn music too.

Audiation is the main goal in Edwin Gordon's Music Learning Theory. Drawing from Gordon’s explanations of audiation and its parallels to literature in neuroscience, music cognition, and psychology, Jordan Ferrin presents a model of the audiation process and how it explains musical processing. Furthermore, suggestions for how the model can support learning and pedagogy in jazz education will be offered given Ferrin's observations from his work with a secondary-school in the UK.

Plus a Q & A with the live audience.

A presentation from the Jazz Education Research and Practice Journal, a publication of the Jazz Education Network.

Newsletter Sections

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NEWS

Best Jazz Albums of 2023

by Giovanni Russonello

That thing we keep calling “jazz” refuses to stop overrunning its borders, reworking itself, showing up in new forms identifiable only by the most basic strands of their DNA. All of its subcultures churned out inspired work this year; many show up below.

This year’s list includes:

1. Chief Xian aTunde Adjuah, ‘Bark Out Thunder Roar Out Lightning’

2. Jaimie Branch, ‘Fly or Die Fly or Die Fly or Die ((World War))’

3. Kassa Overall, ‘Animals’

4. Ambrose Akinmusire, ‘Owl Song’

5. Zoh Amba, Chris Corsano, Bill Orcutt, ‘The Flower School’

6. Jonathan Suazo, ‘Ricano’

7. Mendoza Hoff Revels, ‘Echolocation’

8. Micah Thomas, ‘Reveal’

9. Matana Roberts, ‘Coin Coin Chapter Five: In the Garden’

10.  Enji, ‘Ulaan’

5 Minutes to Love Herbie Hancock

Herbie Hancock has spent the better part of his more than 60-year career composing and performing jazz that has won awards and defied categorization. The music writer Marcus J. Moore pinpoints pivotal moments in Hancock’s discography that inspire joy and admiration.

5 Minutes That Will Make You Love Jazz Flute

by Giovanni Russonello

We’ve taken you through the great jazz pianists, the vocalists, the careers of Alice Coltrane and Ornette Coleman and Mary Lou Williams. This month, we thought we’d go down a less-trodden path, taking a look at one of the more overlooked instruments in jazz: the flute.

Sure, we were prepared for a few Will Ferrell jokes to crop up in the comments (or maybe jump up on the table?), but we had no idea that this piece would land in the biggest cultural moment the instrument had seen in years. Then André 3000 dropped his flute-laden album, “New Blue Sun,” and our timing became all too perfect.

The flute doesn’t have the gravitas or the boisterous sound of a saxophone or a trumpet, and it didn’t fully infiltrate the realm of improvised music until the 1960s, with the likes of Yusef Lateef, Eric Dolphy, Herbie Mann and Hubert Laws — not to mention the salsa and pachanga scene in New York, where the flutist, bandleader and record executive Johnny Pacheco was a major presence.

Since then, as you’ll see below, the instrument has found a home everywhere from the avant-garde to fusion to straight-ahead. Read on for a guided tour of the flute’s role in jazz, brought to you by 10 writers, musicians and educators. You’ll find a playlist at the bottom of the article, and be sure to leave your own favorites in the comments.

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CALLOUTS & CONFERENCES

Jam Music Lab Private University holding Auditions at the Austrian Cultural Forum in New York

Prospective candidates should apply by April 10, 2024 via email to auditions@jammusiclab.com, providing the following documents:

• A description or documentation of previous musical experiences and projects, as well as prior musical education.

• A curriculum vitae 

• An unedited video featuring 2-3 meaningful musical performances by the applicant (preferably a recording of a live performance; professional video quality is not required, mobile phone recordings are sufficient).

From the submissions, a panel of judges will select finalists who will be invited to the audition. The auditions will take place on May 9-13, 2024 at the Austrian Cultural Forum New York. 

ACADEMIC PROGRAMS

We offer an extensive selection of more than seventy main artistic subjects within our degree programs. Students have the choice of a wide variety of disciplines, including pop and jazz singing, guitar, jazz piano, saxophone, trumpet, bass, drums, composition for film and games, song production and more.

For further Information about study programmes, tuition fees and more, klick here.

WHY VIENNA?

Vienna's appeal as a study destination lies in its longstanding tradition of supporting and nurturing the arts. The city's commitment to fostering musical talent and promoting artistic development creates a vibrant atmosphere that continues to inspire and empower creators. In addition to its cultural legacy, Vienna boasts a high standard of living, safety, and overall quality of life.

JAM MUSIC LAB UNIVERSITY

The University provides compelling artistic and pedagogic studies focused on music ex-pression in the 20th and 21st centuries, trans-cending the conventional boundaries of classical music to encompass a wide array of innovative musical genres. Our programs highlight the profound influence of technology on the art, science, and industry of music.

Research Study on Jazz Faculty in Higher Education

Calling All Collegiate Jazz Educators!

Researchers at the University of Arkansas are conducting a research study on jazz faculty in higher education! This survey is open to all jazz musicians currently working for an institution of post-secondary education in the United States. Our study intends to assess the state of employment for jazz musicians across the country that work in a variety of roles within higher education. It contains questions on position, rank, and attributes of employment.

The study aims to benefit researchers and practitioners both in jazz and across higher music education as well as those in the music industry that interact with conservatories, colleges, and universities.

If you currently work in any kind of role as a jazz educator, please consider participating!

Your participation is completely voluntary, and you may withdraw from the survey at any time. If you agree to participate, please proceed to the electronic survey.

All information you provide in the survey is completely anonymous and the survey should take approximately 12 minutes. [The link to the survey is here: https://uark.qualtrics.com/jfe/form/SV_4HZUECUGbdhXeIu]

Speculative Sound Synthesis - Call for Works

Speculative Sound Synthesis is an artistic research project by David Pirrò, Ji Youn Kang, Leonie Strecker and Luc Döbereiner. The project deals with the relationship between technology and artistic thinking in computer music. In doing so, it attempts to productively destabilize this relationship by artistically questioning the standards of digital sound synthesis.

The idea of speculation is central to this project, both methodologically as well as aesthetically. Speculation concerns the how, what, and the why of this project, its methods and its objectives. For the team, speculation does not refer to unfounded conjecture or purely theoretical thought removed from concrete practice or experience. On the contrary, speculation can be understood as situated oscillation between experience and imagination that is characteristic of processes that bring forth new forms of knowledge. The project is seen as an attempt to release aesthetic potentials of sound synthesis for artistic practice that would otherwise remain unknown, concealed by standard technological gestures. In this sense, speculation is capable of overcoming inductive or deductive processes and able to dynamize the interrelation of technology and aesthetics.

Speculative Sound Synthesis starts in November 2022 and will end in October 2025. The project is funded by the Austrian Science Fund (FWF) within Programme for Arts-based Research (PEEK) – PEEK AR 713-G. It is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz.

Journal for Artistic Research - Call for Submissions 

JAR is an internationally recognised Open Access journal that publishes artistic research from all arts disciplines including (but not limited to) the visual arts, architecture, dance, design, film, literature, music, painting, performance, photography, poetry, sculpture, theatre, video art, urban planning, etc. The journal seeks submissions of artists and theorists focusing on artistic research, with or without academic affiliation, and at all stages of their research curriculum.

Rethinking the traditional journal format, JAR offers its contributors a free-to-use online space called the Research Catalogue (RC) where text can be woven together with image, audio and video material allowing for creative modes of presenting and documenting artistic work. We are specifically interested in contributions that reflect upon and expose artistic practice as research, and welcome submissions from artists interested in opening up the processes that underlie their practice. Please view our archive to get a sense of what we publish.

To be accepted for peer review, the Editorial Board considers the degree to which the exposition is conceptually and artistically strong, considered, and significant to the field, and whether the submission exposes artistic practice as research. This last aspect engages with questions and claims about knowledges within practice. For more information about the notion of ‘exposition’ please read the editorial to JAR0.

JAR is part of an active community and network of practice. Alongside the peer-reviewed expositions, the website also provides a space for the publication of channels, reflections and book reviews. The JAR Network space carries no restrictions in terms of language, length, topic or theme and aims to represent the diversity of positions and practices of artistic research regardless of whether or not they coincide with JAR’s approach. If you would like to contribute, please contact JAR using the website contact form and your proposal will be discussed by the editorial board. 

If you don’t have one already, register for a free account on the RC and use the online space to design and submit your research. JAR provides editorial and technical guidance with these processes.

Call for Contributions: Forum Artistic Research 

27-29.06.2024 @ GMPU Klagenfurt

We invite artists-researchers from all disciplines to contribute to the first interdisciplinary Forum Artistic Research: Listen for Beginnings. The event is organised and hosted by the Gustav Mahler Private University for Music Klagenfurt and the project Simultaneous Arrivals.

Theme

Listening seems to be a common-place and inconspicuous act, but at closer inspection reveals a complexity of uses, contexts and modalities, offering a rich discourse around which functions of listening in artistic research can be considered. Listening to, with, for others or oneself or an environment. Listening links body, mind, and culture. There is active and passive listening, deep and shallow, reduced and expanded, unconditional and critical, human and machinic. Listening depends and acts back on one’s perspective and orientation, as much as it may cause an intervention in the world. Careful listening requires not just perceptual openness, but an openness for surprise and an engagement to distinguish the subtle tones from louder ones, foreground from background, giving voice to human and non-human entities, to the neglected. Far beyond its prominence in sound art and musicking, in the past half century listening has been instrumental across disciplines, occupying the minds of artists and scholars who wonder about its aesthetical, ethical and epistemic ramifications.

“Listen for beginnings”—thus reads the first of thirteen points for improvisation formulated by Pauline Oliveros in her 2012 anthology of text scores. Attention is given to how something is initiated or noted, where beginnings imply that things are in their infancy, still in flux, still forming. In research, beginnings are often moments of wonder when what is being researched is still obtaining its shape. Beginnings can be difficult to make out, or they are clearly foregrounded as in rites of passage. The listening in Oliveros’ instruction does not happen in isolation, it is a collective listening among a group that wants to engage in an activity of togetherness, thus the beginning that is sought is a beginning among, the start of a movement of multiple actors. In this sense, Listen for Beginnings ties in with the question of how forms of collaborative practices arise. Practices based on mutual awareness and giving space to one another, particularly when crossing disciplines and media. Understanding the conditions, methods and potentialities for collaborative space and place making seem crucial to allow the kind of beginnings to happen that make us wonder.

Call

We invite presentation proposals on all topics of artistic research, while prioritising those that relate to the theme or engage with the following questions:

• How do you listen to yourself while listening to the other(s)?

• What modes of listening help establish mutual awareness, how can the work of others “positively contaminate” your doing without appropriation and threatening individual voices?

• What forms of togetherness occur in artistic research, and how are they related to the spaces and rhythms of creation and research?

• How is togetherness initiated, when do you “know”, and what forms of attention are enacted in the process?

• Which ecologies of practice support dynamics of collaboration, how do they begin and take form?

• How can artists-researchers “separate” their work from the group and take it further, what happens when it reappears outside the “wholeness” developed together?

• How can strategies be distributed or translated to others, how can shared concepts and materials facilitate a common beginning or arrival?

• How is it possible to document our experiences, to manifestly describe and systematise spaces of arrival? Are there ephemeral alternatives?

• How can forms of working-with be assessed if not primarily through language? How can non-verbal artistic propositions bear witness to shared practice?

• How do you attend to the adjacent / marginal / tangent / simultaneous?

Call for Applications - Join the doctoral programmes in artistic and academic research at Bruckneruniversity Linz

Application deadline: 17.2.2024 for starting in the winter semester of 2024/25.

The Anton Bruckner Private University (ABPU) in Linz invites potential candidates to apply for the artistic-scholarly or the academic doctoral programme.

At ABPU, doctoral students are supervised by up to three leading international experts in their field and receive a comprehensive, structured course programme. 

On the occasion of the 2024–Bruckner Year, the university offers three Bruckner-stipends for future doctoral students with a funding totalling 50 000 €.

In the artistic scholarly doctoral programme, areas of research may be chosen from the following fields:

• Historical performance practice

• Instrumental performance studies

• Composition

• Contemporary dance

In the academic doctoral programme, areas of research may be chosen from:

• Interpretation research

• Cultural studies

• Musicology

• Music history

• Music pedagogy

HIGHLIGHTS OF THE PROGRAMME

RESEARCH ENVIRONMENT AND FINANCIAL SUPPORT
The doctoral students have access to dance studios, the Sonic Lab computer music laboratory, a modern recording studio and concert halls for a wide range of requirements, as well as excellent audio and video equipment dedicated to the doctoral programmes. In addition, they receive financial support through the doctoral study fund.

PROFESSIONAL NETWORK

From the outset and continuing throughout the programme of study, our doctoral candidates will be offered a broad professional network through our cooperation with renowned Austrian and Swiss universities for co-supervision: the Paris Lodron University, Salzburg; the University of Art and Design, Linz; the University for Music and the Performing Arts, Vienna, and the Hochschule der Künste Bern, HKB. 

THE COMMUNITY:
PARL – PLATFORM FOR ART AND RESEARCH LINZ
NIKOLAUS HARNONCOURT CENTER

PARL – Platform for Art and Research Linz offers a variety of exchange and networking opportunities in the fields of art and research, knowledge transfer and research communication. With this series, our research community takes a look at the rich space that opens up between art and research.

Here, doctoral students meet international lecturers and artistic researchers through workshops, concerts and symposia. PARL also offers them the opportunity to present and discuss their own research in front of an audience of peers. The intensive exchange between purely academic fields and the discipline of artistic research opens up synergies for both.

Since 2023, Bruckneruni Linz is host for the Nikolaus Harnoncourt Zentrum (NHZ) in which the Harnoncourt's archive is made accessible to posterity by digitizing. The NHZ sees itself as a "torchbearer" of Harnoncourt's universal worlds of thought and dares to look at larger contexts of the development of the last centuries in order to venture an outlook on the future.

University Mozarteum Salzburg

PhD in the Arts — Call for Application

Deadline: 28 March 2024

The Mozarteum University Salzburg is looking for art practitioners to enroll in the PhD in the Arts, a doctoral programme in artistic research. Artists from any field of practice are encouraged to apply, including but not limited to music, the visual arts, theatre, dance, film, digital media, and design.

The doctoral programme focuses on the potential of artistic processes to articulate themselves as research, as well as on the capability of these processes for creative and critical reflection, whereby artistic practice becomes both the subject matter of the research trajectory and the method through which research is conducted.

The PhD in the Arts provides a framework for the development of individual projects, with a wide spectrum of formats ranging from one-to-one tuition, seminars, workshops, lectures, excursions and an open space dedicated to the self-organisation of candidates. The doctoral curriculum takes place in a collaborative research environment that fosters artistic and intellectual exchange and cooperation and offers appropriate infrastructure and facilities (spaces, instruments, staff, library, etc.).

The programme is designed for a minimum of three years and conducted in English. All courses will take place in monthly gatherings. Residence in Austria is not required, but participants are requested to take part in activities in Salzburg. The Mozarteum University Salzburg cannot provide internal funding or scholarship. Candidates will be supported in all application processes for external funding.

The programme works with the concept of transversality as an operative principle that opposes both a vertical and a horizontal understanding of art. Examples of transversal practices that the programme welcomes include but are not limited to:

• Practices that engage post-anthropocentric modes of creativity (e.g. reflections on human and other-than-human interaction, environmental awareness, historical and new materialisms, speculative realism, post-human discourses, etc.).

• Practices that develop divergent and creative approaches to history and cultural heritage (e.g. archival practices, reflections of temporal linearity and anachronism, experimental modes of music performance, montages of found footage etc.).

• Practices that challenge hierarchical social and political structures (e.g. centered on feminist, queer, Marxist, decolonial and postcolonial discourses, etc.), as well as traditional divisions of labor in the art market (composer/performer/improviser, artist/spectator, art/society, etc.).

• Practices that engage with the imaginary and spiritual not as marginal nonrealities, but as means to change epistemologies and to reinvent ontologies.

Application process:

Applicants are admitted to the doctoral programme through a two-step selection process (proposal and presentation). In addition, knowledge of English (oral and written) must be proven. The online application tool is open from February 01 to March 28, 2024. Please upload all documents here. Dates for interviews will be published soon on the website of the Mozarteum University Salzburg.

The results of the application process will be communicated to applicants at the beginning of June, 2024. For further information please contact: studieninfo@moz.ac.at.

Necessary documents for the online application:

• Master’s certificate (or graduation certificate from an equivalent course of study). If a master’s certificate is not available, an enrollment certificate or official confirmation of the anticipated degree should be uploaded.

• Complete transcript of records for the master’s degree including all subjects taken and grades awarded.

• In case of further previous studies please add all transcripts of records (list of completed subjects and grades).

• Applicants with foreign documents must provide an official translation into German or English alongside the relevant original.

• Proof of English skills (optional for the application process but necessary for admission).

The application (compiled into a single PDF file no larger than five MB) has to be uploaded online and should include the following:

• A résumé (curriculum vitae), please also upload it separately.

• A portfolio containing relevant activities (exhibitions, concerts, compositions, publications, conferences, etc.), including links to audio and video files and large images where relevant.

• A written proposal outlining the artistic research project to be developed during the course of the study programme (contextualization of artistic research practice, potential questions of the project, outline of a prospective trajectory and provisional timetable for the project, optional: proposals for potential supervisors). The PhD project proposal should consist of two to ten A4 pages.

Jazzcampus Mainz

Dear Colleagues,

Young jazz professionals and jazz students (up to 35 years old) from all over the world can apply NOW

Apply for the 4th round of the “Gutenberg Jazz Collective” - and with international jazz greats like

Christian McBride, Terri Lyne Carrington, David Virelles and Melissa Aldana will be on stage.

The ensemble stays together for a year and meets for 4 one-week residencies in Mainz.

The residencies are free of charge, accommodation and travel costs are fully covered.

Between 2021 and 2023, the ensembles met inspiring guest artists such as Ben Wendel, Lionel Loueke, Kris Davis and Billy Hart, who can be seen on our YouTube channel:

https://www.youtube.com/channel/UCrFQ1vIqV-ozOeTum7RNr_w

All information about applying for 2024, dates, etc. can be found at the link above.

All instruments and voices can apply.

Deadline: February 18, 2024

The Elizabeth Wood Research Fellowship in Musicology

There shall be two fellowships awarded by the University of Adelaide to be known as the Elizabeth Wood Research Fellowship in Musicology, named in honour of world-renowned musicologist Dr Elizabeth Wood who holds Bachelors’ degrees in English literature (with Honours) (1961), and musicology (with Honours) (1970) from The University of Adelaide, and a PhD from the same university (1979). Her work includes the first history of Australian opera and a series of critical studies of Ethel Smyth. A Fulbright Scholar and National Endowment for the Humanities (USA) Fellow, she received the Tormore prize (Adelaide) (1959) and Philip Brett Award (AMS) (1997) for her pathbreaking essays in gay and lesbian musicology, and a New York State Council on the Arts award for her journalism in regional arts (2001).

The Fellowships have a fixed-term annual stipend and can be held for up to one year. The annual value of each stipend is $40,000 plus $10,000 top-up for travel expenses.

ELIGIBILITY AND SELECTION

1. The Elizabeth Wood Research Fellowship in Musicology shall be open to:

   1. university graduates with a doctorate; or

   2. university graduates in the final year of their doctorate (who provide evidence of intended submission date within that year) to conduct research in musicology and / or ethnomusicology.

2. Selection of the successful fellow will be made upon assessment of an application by a Selection Panel consisting of the Director, Elder Conservatorium of Music (Chair) or nominee, a Director of Elder Conservatorium’s Musicology & Ethnomusicology Hub or nominee, the Faculty Deputy Dean (Research) or nominee, in consultation with the Directorate of the Conservatorium’s Musicology & Ethnomusicology Hub on the basis of their assessment that the proposed research outlined in the application enhances one or more of the following themes:

   1. Cultures of Musical Research in the Contemporary University

   2. Musical Networks: Exchanges and Migrations

   3. Digital Humanities and Music Research.

   4. Any other theme(s) as determined by the Directorate, Musicology & Ethnomusicology Hub.

IICSI Postdoctoral Fellowship Program 2024 – 2025

The International Institute for Critical Studies in Improvisation (IICSI) invites applications for one (1) twelve-month residential postdoctoral fellowship position to be held at the University of Guelph. 

The International Institute for Critical Studies in Improvisation’s mandate is to create positive social change through the confluence of improvisational arts, innovative scholarship, and collaborative action. IICSI is a multi-locale research partnership hosted at the University of Guelph, with sites at McGill University; Memorial University of Newfoundland; University of British Columbia; University of Regina; Carleton University; 17, Institute of Critical Studies (Mexico City); and Queen’s University Belfast. IICSI seeks to contribute to interdisciplinary research and graduate training in the emerging field of improvisation studies. 

Duration and Compensation 

This will be a twelve-month residential postdoctoral fellowship for September 2024 to August 2025 (start time has some flexibility). The postdoctoral fellowship provides stipendiary support, valued at $40,500 CAD, to recent PhD graduates who are undertaking original research, publishing research findings, and developing and expanding personal research networks.  

A teaching offer may also be made to the postdoctoral fellow, contingent on the candidate’s areas of expertise, budgetary restrictions, and the needs of the program.  If such an offer is accepted by the candidate, a teaching stipend of $8,000 CAD will be added to the candidate’s annual salary. In addition, the College of Arts will provide an annual research stipend of $2,500 CAD.  

Application Criteria 

Applicants are invited to submit a research proposal focusing on the social implications (broadly construed) of improvised artistic practices. Successful candidates will be chosen based on a rigorous application process, with IICSI’s management team serving as the selection committee.  

Criteria for selection are the quality and originality of the proposed research, the fit with our institute’s overall mandate and objectives, the candidate’s record of scholarly achievement, and the candidate’s potential to benefit from activities associated with IICSI. Postdoctoral fellows will be eligible for competitive research stipends, logistical assistance for relocation (if required), office space equipped with computers, access to the services of the host institution (library, etc.), and administrative, placement, and research assistance as needed. In return, fellows are expected to pursue the research projects submitted in their application, to participate in the Institute’s research and community-engaged activities (colloquia, seminars, partnered projects), and to present their work in progress in the context of the Institute’s seminars and workshops.  

Applicants should have completed a PhD at the time of application (to be conferred by November 1, 2024). 

Call for Papers: Creative Partners? Repositioning the Arts in Transdisciplinary Collaborations

Open panel at the EASST-4S 2024 Amsterdam: Making and Doing Transformations:

Creative Partners? Repositoning the Arts in Transdisciplinary Collaboratons

Convenors:

Veerle Spronck (HKU University of the Arts Utrecht)

Peter Peters (Maastricht University)

Denise Petzold (Maastricht University)

In transdisciplinary collaborations, the arts are often instrumentalized as “creative partners” rather than practices that can interrupt, slow down, and interrogate. This panel explores the practices of artists, designers, and artistic researchers to inspire STS to rethink the position of the arts.

Recently, transdisciplinary collaborations play an important role in research on societal transformations and processes. Examples are the rise of generative AI (Faisal, 2023) or issues of sustainability and climate change (Rödder, 2016). These transdisciplinary projects often promise to address societal challenges by creating more ‘robust’ and democratic knowledge, for example through alternative modes of knowledge production that bring researchers and societal actors together (Schikowitz, 2020). Given the range of scholarly disciplines and (societal) stakeholders involved, however, tensions, difficulties, and conflicts are inevitable (Felt, Igelsböck, Schikowitz, & Völker, 2016). While scholars in Science and Technology Studies (STS) can explain how these problems emerge and play out, the aim of synthesizing different bodies of knowledge and solving such conflicts and tensions remains.

In such transdisciplinary collaborations, the arts are often seen as “creative partners” for cooperation. They are for example expected to facilitate the communication between societal stakeholders, or act as vehicles for social critique or commentary. In this panel, we propose to see the arts not as “instrument” or “creative solution-producer". Rather, we ask how the arts can inspire transdisciplinary practice, proposing that the arts are at the core of the very societal transitions that transdisciplinary collaborations seek to address. We re-attend to the arts as practices that can interrupt, distract, deviate, slow down, create discomfort, interrogate, problematise, and confront. By doing so, we critically address the conflict-solving approach that STS scholars have attached to transdisciplinary projects.

In this combined open panel, we therefore not only invite papers, we explicitly invite artists, (social) designers, musicians, writers, and artistic researchers to share their proposals for workshops, experiments, prototypes, performances, or other artistic inventions too. Together, we aim to explore methods, ways of attending, and collaborative work practices that can inspire STS researchers to rethink the position of the arts in transdisciplinary projects.

Please submit your abstract before 12 February 2024 here: https://nomadit.co.uk/conference/easst-4s2024/p/14344

contact: p.peters@maastrichtuniversity.nl

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RECENT PUBLICATIONS

Harmonic Development and Contrapuntal Techniques for the Jazz Pianist

by Gary Motley

Harmonic Development and Contrapuntal Techniques for the Jazz Pianist serves as a guide for harmonic expansion and development for jazz piano, offering pianists both a rationale and methods to improve contrapuntal hand techniques.

The text focuses on the relationship between theory and execution and both of those components’ usefulness in creating a jazz sound at the piano. This kinaesthetic method provides the learner with a systematic approach to harmonic movement, revealing options that may not have been otherwise apparent. This method will allow pianists to add depth and dimension to their chord voicings in the same way that vocalists and wind instrumentalists give character and shape to the notes they create.

Key features include musical examples ranging from singular chord construction to sophisticated harmonic progressions and song application. Performance exercises are provided throughout the text. Learners and instructors are encouraged to create their own exercises. Related ancillaries at harmoniccounterpoint.com include:

• Musical examples

• Audio tracks

• Performance exercises

• Written assignments

Intended for the learner who is reasonably familiar with essential jazz harmony, this textbook will be both a significant resource for the advanced player and a fundamental component for the learner in a structured academic musical setting.

Lonnie Liston Smith: An Oral History

Lonnie Liston Smith is an American pianist and keyboard player from Richmond, Virginia, born in 1940. He earned a bachelor’s degree in Music Education and an honorary doctorate from Morgan State University and has performed with Betty Carter, Art Blakey, and Miles Davis. His original music with the Cosmic Echoes has influenced the genres of smooth jazz, jazz funk, acid jazz, and hip hop. Scott Gray Douglass is a bassist and teacher also from Richmond, born in 1984. He is writing a book based on the oral histories of Richmond’s jazz musician educators. The two spoke by telephone in September of 2021. The following conversation is edited for clarity. Footnotes are provided by the co-author for context.

Experiencing Jazz

by Richard J. Lawn & Justin G. Binek

Experiencing Jazz, Third Edition is an integrated textbook, website, and audio anthology for jazz appreciation and history courses. Through readings, illustrations, timelines, listening guides, and a playlist of tracks and performances, Experiencing Jazz journeys through the history of jazz and places the music within larger cultural and historical contexts. Designed for the jazz novice, this textbook introduces the reader to prominent artists, covers the evolution of styles, and makes stylistic comparisons to current trends and developments.

New to the third edition:

• Richard J. Lawn is joined by new co-author Justin G. Binek

• Expanded coverage of artists, particularly important vocalists and prominent women in jazz, including Bobby McFerrin, Kurt Elling, The Manhattan Transfer, and Terri Lyne Carrington

• A dynamic, web-exclusive bonus chapter—Chapter 14.5: The Story Continues—exploring contemporary jazz artists who push the boundaries of jazz by creating new stylistic fusions and who utilize new media to create, collaborate, and share their artistry

• A re-worked companion website featuring new recordings, a more comprehensive audio anthology, and a major revision of The Elements of Jazz section

• Condensed musician biographies and updated content reflecting jazz’s global impact

• Revised listening guides for spotlighted recordings highlighting key moments worthy of closer listening and analysis

Comprehensive and immersive, the third edition of Experiencing Jazz provides a foundational understanding of the history of the genre.

The Improviser’s Classroom: Pedagogies for Cocreative Worldmaking

Edited by Daniel Fischlin and Mark Lomanno

An adept improviser can find ways forward amid impasse, agency amid oppression, and community amid division. The editors and contributors to The Improviser’s Classroom present an array of critical approaches intended to reimagine pedagogy through the prisms of activism, reciprocity, and communal care.

Demonstrating how improvisation can inform scenes of teaching and learning, this volume also outlines how improvisatory techniques offer powerful, if not vital, tools for producing connection, creativity, accompaniment, reciprocity, meaningful revelation, and lifelong curiosity.

The Improviser's Classroom champions activist pedagogies and the public work essential for creating communities bound together by reciprocal care and equity.

Contributors: Sibongile Bhebhe, Judit Csobod, Michael Dessen, jashen edwards, Kate Galloway, Tomie Hahn, Petro Janse van Vuuren, Lauren Michelle Levesque, George Lipsitz, Rich Marsella, Tracy McMullen, Hafez Modirzadeh, Ed Sarath, Joe Sorbara, Jesse Stewart, Ellen Waterman, Carey West, and the editors

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.

• Provides readers an introduction to jazz expression as music and as cultural influence on other artistic forms

• Discusses many lesser known jazz artists and works while also referencing famous musicians in the jazz tradition

• Shows how the meaning of jazz has changed across time and context in American culture

Transcultural Jazz: Israeli Musicians and Multi-Local Music Making

By Noam Lemish

Transcultural Jazz: Israeli Musicians and Multi-Local Music Making studies jazz performance and composition through the examination of the transcultural practices of Israeli jazz musicians and their impact globally. An impressive number of Israeli jazz performers have received widespread exposure and worldwide acclaim, creating music that melds aspects of American jazz with an array of Israeli, Jewish and Middle Eastern influences and other non-Western musical traditions. While each musician is developing their own approach to musical transculturation, common threads connect them all. Unraveling and analyzing these entangled sounds and related discourses lies at the center of this study. This book provides broad insight into the nature, role and politics of transcultural music making in contemporary jazz practice. Focusing on a particular group of Israeli musicians to enhance knowledge of modern Israeli society, culture, discourses and practices, the research and analyses presented in this book are based on extensive fieldwork in multiple sites in the United States and Israel, and interviews with musicians, educators, journalists, producers and scholars. Transcultural Jazz is an engaging read for students and scholars from diverse fields such as: jazz studies, ethnomusicology, Jewish studies, Israel studies and transnational studies.

Noam Lemish is a pianist, composer, scholar, educator, and assistant professor in the Department of Music at York University in Toronto, Canada.

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