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

February 2023

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Friends,

Welcome to the February edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities. For your study and teaching purposes: 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. 

We will host a special webinar on Friday, March 15 on research methods and the process of publishing and submitting for JAZZ with the current editor Martin Norgaard and myself. There will be plenty of time for questions, sign up to be able to interact. The webinar will also be livestreamed on Facebook and made available later on the JEN website.

A few noteworthy updates: 

Submissions for presentations, clinics, concerts for the 2025 JEN Conference in Atlanta will be open April 1 - 30, don’t miss the deadline.

• 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.
  

• Jake Hertzog and colleagues at the University of Arkansas are conducting an extensive Jazz Faculty Employment study - please participate at https://uark.qualtrics.com/jfe/form/SV_4HZUECUGbdhXeIu] 

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 March 3, 3pm with Theresa Chen - Teaching Jazz Standard Writing at College-Level Songwriting Class Setting. 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 ⬇️

No Researcher Left Behind:

From Asking the Question to Publication

with Drs. Monika Herzig & Martin Norgaard

Friday, March 15 • 3:00pm ET
Zoom (Members) & Facebook Live (Non-Members)

Current editor of Jazz Education in Research and Practice (JAZZ) Martin Norgaard and head of the JEN Resarch Interest Group and previous editor of JAZZ Monika Herzig will discuss various methods of research and project design and the process of publishing articles in JAZZ. In addition, current JEN resources to support research projects and receive mentoring will introduced with plenty of times for questions.

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

JMLU holding auditions at the Austrian Cultural Forum New York

HOW TO APPLY FOR THE AUDITION

Prospective candidates should apply by May 1st, 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 13th, 2024 at the Austrian Cultural Forum New York, adress: Austrian Cultural Forum New York, 11 E 52nd St, New York, NY 10022, United States

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.

5 Minutes That Will Make You Love 21st-Century Jazz

by Giovanni Russonello

We’ve done a lot of listening back. So where is jazz today? Writers and musicians including Sonny Rollins, Melanie Charles and Terri Lyne Carrington share their favorites from this millennium.

Over the past few months, The New York Times has asked jazz musicians, critics and scholars to answer the question, What would you play a friend to make them fall in love with Duke Ellington? Or Alice Coltrane? We’ve also covered bebop, vocal jazz and the catalogs of Ornette Coleman and Sun Ra.

That’s a lot of listening back. So this month, we decided to explore what’s happening now. Where is jazz today? It’s a good time to be asking. Just a dozen years ago, the music seemed to be having a crisis of self-worth. Where was its center? Could anything guarantee its relevance?

But over the past five or 10 years, you could say that jazz has gone through a kind of ego death, and then a rebirth: Today there’s no particular sound or style that young players all want to preserve, but jazz as a general practice — a commitment to taking on musical adventures together, live and in real time; to treating musical instruments as the writing utensils for a narrative — hasn’t been this alive in decades. As a result, all across the jazz spectrum, artists are in comfortable contact with hip-hop, contemporary poetry, the Black Lives Matter movement and visual art.

‘Jelly’s Last Jam’ Returns, Bringing a Jazz Tale to a New Generation

by Marcus J. Moore

Jason Michael Webb, the show’s guest music director, said he wants audiences at the musical about Jelly Roll Morton to experience “a time period that does not exist anymore.”

The team behind the Encores! revival of “Jelly’s Last Jam” is not looking to reinvent George C. Wolfe’s ambitious 1992 Broadway show. But they do hope that this rendition, opening on Wednesday at New York City Center, will introduce the musical to a new generation.

Taking that idea a step further, Jason Michael Webb, the show’s guest music director, said he also wanted audiences “to immerse themselves in a joy in a time period that does not exist anymore.”

That joy comes via the story of jazz and the works of Jelly Roll Morton, a ragtime pianist who said he invented the genre in 1902. In “Jelly’s Last Jam,” Morton is portrayed as a conflicted soul, a mixed-race man of Creole descent whose light hue gives him privilege in his hometown, New Orleans. He rebels against his heritage and soaks in the music of economically disadvantaged Black people, stirring up dissension in his family. He goes out on the road and becomes a well-known musician. Yet as jazz music’s popularity swells, Morton’s impact on it is forgotten. He’s a pioneer but isn’t given proper credit for It.

While Morton’s music is the centerpiece here, the show also features lyrics by Susan Birkenhead and additional compositions by Luther Henderson. In his review of the production, which starred Gregory Hines and Savion Glover as the older and younger versions of Morton, the Times critic Frank Rich called the first act “sizzling,” adding, “at once rollicking and excessive, roof-raising and overstuffed, you fly into intermission, high on the sensation that something new and exciting is happening.”

For Dizzy Gillespie, Queens Was the Place to Be and to Bop

by Mia Jackson

Rebellious jazz took flight in Harlem at Minton’s Playhouse, but it was nurtured on the tree-lined streets that gave pioneering Black musicians a home.

Dizzy Gillespie helped make Minton’s Playhouse famous.

Minton’s in Harlem was where jazz musicians, from out-of-towners to locals performing in nearby big band theaters in Harlem, sought refuge during late-night jam sessions and a new genre, bebop, was born. Gillespie, together with Charlie Parker, is largely considered a pioneer of the rebellious jazz style that diverged from mainstream swing jazz’s emphasis on orchestrated productions and collective harmony. Instead, it ushered in an era of artistic experimentation that better reflected the realities of Black urban life and the talents of Black musicians.

“Jam sessions, such as those wonderfully exciting ones held at Minton’s Playhouse, were seedbeds for our new, modern style of music,” Gillespie wrote in his autobiography, “To Be or Not to Bop.”

But there was another gathering spot for Gillespie and his peers: the three-story Colonial Revival-style building in Corona, Queens, that he bought in 1953.

Jazz clubs were in Harlem. But jazz musicians lived on the tree-lined streets of Queens. While white musicians skedaddled to the suburbs, Black jazz virtuosos sought solace in the neighborhoods where their racial identity was welcomed — ultimately congregating into two enclaves in the borough. The first was in the southeast by Addisleigh Park where the composer Clarence Williams and his wife moved in the 1930s, with Count Basie, Lena Horne, Duke Ellington’s son, Mercer Ellington, and James Brown eventually following suit. The second was in Corona, where Louis Armstrong lived until his death, and a place that Gillespie, fellow trumpeter Clark Terry, and Ella Fitzgerald once called home.

Queens had the charm of the South, conveniences of the northern lifestyle and was close enough to the teeming jazz scene of Harlem without being ensnared. The borough didn’t generate a fresh jazz genre like Harlem. But the borough was an incubator where music got worked out, imagined and revised, as Black musicians were grappling with the commercialization of their craft.

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CALLOUTS & CONFERENCES

Higher Education Jazz Faculty Emplyoment Survey

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

The 17th International Conference of Students of Systematic Musicology (SysMus24)

Call for Abstracts

We are pleased to announce the call for contributions for the 17th International Conference of Students of Systematic Musicology (SysMus24)! SysMus is a series of international conferences organised annually by postgraduate students and early career researchers in the broad field of systematic musicology. This year's event will be hosted by the University of Jyväskylä in Jyväskylä, Finland, from June 8th to 10th, 2024. We invite presentations in the form of live or virtual talks or posters. 

SysMus is dedicated to representing the diversity of topics and methods that are summarised under the umbrella term ‘systematic musicology’. Therefore, submissions addressing any of the following subjects are welcome, but not limited to: 

• Music perception, 

• music cognition, 

• music therapy, 

• music and well-being, 

• music modelling, 

• music information retrieval, 

• music sociology, 

• music education, 

• music technology, 

• music and culture, 

• music philosophy, 

• music theory and analysis, 

• composition, and performance.

Call for applications for the Inter-University Doctoral School "Cultures in Transformation"

The Inter-University Organization Science and Arts of Paris Lodron University (PLUS) and Mozarteum University Salzburg (MOZ), established in 2002, is specialized in research, teaching, and communication on the multifaceted relationship between the sciences and the arts across various disciplines.

In this context, a four-year Doctoral School on the theme of “Cultures in Transformation” will be established from the winter semester 2024/25. The School will be funded by the state of Salzburg, PLUS and MOZ.

The field of the Doctoral School situates itself at the interface between science and art and its goal is to contribute to the development and expansion of knowledge in both areas. The academic dissertation projects led by candidates will deal with phenomena, concepts and processes of social change in the context of the arts and their public spheres. In terms of their thematic and methodological orientation, their aim is to combine exploratory and research approaches from both academic disciplines as well as cultural, curatorial and artistic fields of practice.

The Doctoral School is aimed at graduates of universities, art universities and polytechnics (at master’s degree level). In line with the objectives of the Inter-University Organization Science and Arts, the program is transdisciplinary in nature and offers a framework for networked research and work. The Doctoral Program promotes and imparts theoretical understanding and methodological skills at postgraduate level. In particular, the relationship between theoretical and practical aspects of the arts and cultural forms of articulation are explored. The aim is to provide doctoral students with the support they need to make an independent contribution to academic and artistic research.

SAR International Forum on Artistic Research 2024

SAR International Forum on Artistic Research will take place from April 10th to 11th 2024, hosted by Fontys Academy of the Arts in Tilburg.

This year the Society for Artistic Research (SAR) introduces a new biennial meeting format, that offers time and space for thought-provoking and stimulating dialogue between artistic researchers, artists, practitioners, as well as policy makers and stakeholders from diverse backgrounds.

The Forum 2024 co-developed by Fontys and SAR to be a new and innovative biennial format, that will alternate with the already established SAR conferences.

Instead of the traditional keynote speech, the Forum will host three focus sessions in the afternoon of the first day. These sessions aim to address, explore, and negotiate challenges, visions, and opportunities for artistic research 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 area. How should ethics ‘look like’ for artistic research, and who and how should they be managed and implemented?

-> the research environments and culture:
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. Newly formed connections and the building of community relationships will shape the future of and for artistic research.

Instead of the traditional Open Call for contributions, we invite Forum participants to share their artistic research work with the research community in the form of poster presentations. These will be exhibited in a dedicated gallery setting during the 2-day forum in Tilburg. Posters might link up (e.g. with a QR code) to a dedicated RC exposition that allows for a more comprehensive presentation as well as online availability of all contributions via the official Forum website (via links). There is no selection process and participation are included in the Forum fee, making this line of participation entirely open and accessible to all Forum participants. An official invitation letter can be requested.

With this new format of the SAR Forum we would also like to foster more dynamic interactions with the SAR Special Interest Groups (SIGs) and facilitate debates that encourage active participation not only within the SIGs but also across the broader SAR community. For the second day, a number of SIGs have accepted our invitation to co-create the SIGs’ contribution to the SAR Forum 2024 and are currently developing tailor-made formats to engage with the Forum’s participants and encourage a thought-provoking and stimulating dialogue about their special interest. We’re looking forward to range of exciting and diverse contributions!

Antwerp Research Institute for the Arts

Open Call for Contributions

FORUM+ is looking for contributions: upcoming submission deadline 15 March 2024.

FORUM+ is an international peer-reviewed journal for research in the arts.

Showcasing peer-reviewed contributions from various fields, the journal embraces an open access format both online and in print. Reflecting the dynamic nature of artistic research, which holds increasing significance in higher arts education globally, FORUM+ serves as a platform for dialogue and critical reflection.

Partnering with Belgian, Dutch, and international Schools of Arts, the editorial board facilitates peer review to ensure the quality and relevance of submissions. Contributions in Dutch and English are welcomed, spanning traditional scholarly articles to visual essays, podcasts, reviews and more. 

Through these diverse formats and thematic dossiers, FORUM+ aims to foster and showcase the diverse articulations of artistic research on both a local and an international level.

Artistic Research Center – University of Music and Performing Arts Vienna

Call for Applications - Doctor Artium Program

mdw – University of Music and Performing Arts Vienna is one of the world’s largest and most renowned universities for performing arts, music, theatre and film.

The artistic doctoral program (Dr. Artium Program) at mdw promotes research relating to artistic practice which develops plural methods and forms of new knowledge. Dissertation projects are often characterized by interdisciplinarity and transdisciplinarity, process orientation, and contextualization in cultural and socio-political realities. The doctoral program is open to all art disciplines represented at mdw (music, theater, film) – it also welcomes transdisciplinary artistic research approaches that extend beyond them. The program encourages connections to scholarship and research at the mdw including musicology, ethnomusicology, film studies, theater/performance studies/dramaturgy, dance studies, music therapy, sociology of music, cultural studies, gender studies, queer studies, acoustics.

Innovative artistic work is at the heart of this program. It leads to the production of new knowledge and serves as an independent contribution towards the development and expansion of the arts. The program enables its graduates to carry out independent artistic research work that meets international standards. It is expected that participants will generate new knowledge about specific issues in the arts, contextualize relevant artistic research, and will document and communicate the resulting knowledge production in a suitable manner.

Each project is supervised by at least three experts from relevant disciplines. Graduates are familiar with the discourses on gender, diversity and intersectionality and can apply them in their practice. This prepares graduates to take on coordinating, executive and teaching roles, and to successfully assert themselves in national and international artistic environments. 

The Artistic Research Center (ARC) at mdw provides courses and organization for the artistic doctorate program and collaborates with the various departments and experts of mdw and beyond, providing a rich network of disciplines, knowledge and facilities.

The mdw is committed to gender equity, equal opportunities, critical diversity and internationalization. We especially welcome applications from highly qualified artists from groups that have been underrepresented to date. If you are interested and for the appointment of counseling sessions, please contact us by email: ar_center@mdw.ac.at

2024 CMS National Conference

Supplemental Calls for Proposals

Dear CMS Colleagues, 

On November 7–9 2024, members of The College Music Society will assemble in Washington, DC at the Washington Hilton for our 67th National Conference. The College Music Society National Conference’s 2024 theme is “Advancing Democracy: Empowering Action Through Music.” The 2024 CMS National Conference Program Committee received 339 outstanding proposals in response to the calls issued last summer, and we look forward to sharing many of these proposals with you this fall. 

As we continue to determine how CMS can most effectively and inclusively serve our members, and as we make the most of our location in Washington, DC in November, we are excited to issue a round of Supplemental Calls for the 2024 National Conference. These Supplemental Calls are meant to explore new presentation formats, increase means of conference accessibility, and more inclusively engage CMS members as we gather in Washington, DC.

You may find details and links for these Supplemental Calls below:

• Call for Asynchronous Virtual Presentations & Lightning Talks

• Call for Commercial and Popular Music Performance

• Call for Film Scores

• Call for Special Initiatives 

• Call for Student Research Papers with CMS-Provided Mentoring

Important Dates:

Submission Deadline: 12 Noon Mountain Time on Tuesday, April 30, 2024

Notification Deadline: Thursday, May 23, 2024

Please refer to the links above for more information regarding the formatting and submission requirements for each call.

47th National Conference of the MSA 2024: CALL FOR PAPERS

We warmly invite you to consider submitting a proposal to the MSA’s 2024 conference, which will be held online 28–30 November 2024. The Society has resolved to hold alternate conferences online, in order to facilitate accessibility and be mindful of our environmental impact.

Please feel free to forward this message to your local and international networks. The conference is designed to bring together a diverse range of disciplinary expertise in music practice and research (broadly conceived). We welcome submissions from presenters at all different career stages, and those who may not yet be members of the MSA.

Thanks, and best wishes,

Liz Kertesz (convenor)

____________________

We invite proposals for individual papers, panels, and themed sessions on any topic of music research for the 2024 conference of the Musicological Society of Australia.

• When: Thursday 28–Saturday 30 November 2024 (AEDT)
• Where: online
• Conference Convenor: Liz Kertesz
• Conference Organiser: Elly Langford
• Conference email: msaconf@msa.org.au
• Conference website: https://msa.org.au/msa-2024/
• Deadline for Proposals: Monday 22 April 2024
• Proposal Outcome: Friday 1 July 2024

  SUBMITTING A PROPOSAL PRESENTATION FORMATS

• FORMAL CONFERENCE PAPERS: 20 minutes + 10 minutes for questions and discussion
• PANELS (up to 4 participants): 90 minutes
• THEMED SESSIONS (up to 4 participants): 120 minutes

SUBMISSION GUIDELINES

Please email your proposal (as an attached MSWord file), with the subject heading ‘MSA Conference Proposal,’ to msaconf@msa.org.au by Monday 22 April 2024.

Proposals for INDIVIDUAL PRESENTATIONS should include the following:

• paper title,
• abstract of no more than 250 words,
• name of the presenter,
• preferred email address,
• a short biography of less than 100 words,
• four keywords,
• institutional affiliation if applicable.

Proposals for PANELS & THEMED SESSIONS should include:

• the information listed above for each presenter
• PLUS title and abstract for panel/session as a whole.
• Panel proposals should include a plan for how the 90 minutes will be used.

____________________

• All presenters must be current financial members of the MSA at the time of registering for the conference (join at https://msa.org.au/ or log in to members area to renew your membership).
• Updated information (including details of keynote speakers) will be provided on the conference website as it becomes available.
• As we have no host institution for our conference this year, we would be grateful if you would consider making a donation to the MSA via https://msa.org.au/donate/

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RECENT PUBLICATIONS

Reflections on Authentic Movement:

Theory, Practice and Arts-Led Research

by Eila Goldhahn

This ground-breaking book advances the existing literature on Authentic Movement with an arts practice-led research monograph. It explores the history, practice and theory of Authentic Movement which integrates the fields of dance, movement and psychotherapy.

Providing a contemporary and new perspective, the book moves beyond the purely therapeutic and spiritual aims of Authentic Movement and opens it up to new applications. The first part of the book introduces the history and practice of Authentic Movement, describing and illustrating origins, forms and specific expert terminology and explaining their rationale. It then develops an in-depth analysis of particular aspects of Authentic Movement, from the perspective of an expert practitioner using philosophy and the lens of art making. Case studies exemplify how the practices and qualities of Authentic Movement can aid creative, reflective research processes in dance, movement, therapy and research as well as in choreography, pedagogy, psychotherapy and natural sciences. The book emphasises a philosophical and scholarly approach which is rooted in interdisciplinary arts practices and psychotherapy.

The book offers a solid grounding and guide to Authentic Movement will be accessible to scholars and students of Dance Movement Therapy, as well as counselors, dancers, choreographers, psychotherapists and researchers in the arts and humanities.

RECLAIMING ARTISTIC RESEARCH:

Expanded Second Edition (2024)

Reclaiming Artistic Research – Expanded Second Edition (2024) explores artistic research in dialogue with 24 artists worldwide and embraces artists’ dynamic engagement with other fields. Reclaiming the term “artistic research” from its academic associations, the book foregrounds the material, spatial, embodied, organizational, choreographic, and technological ways of knowing and unknowing specific to contemporary artistic inquiry. Foregrounding art’s engagement with multiple fields, Reclaiming Artistic Research manifests how artists produce new paradigms and questions, rather than supplementing existing (academic) knowledge. Through in-depth dialogues, the book seeks to articulate the nature of artistic thinking in practice, tracing how ideas and forms co-emerge through material, conceptual and embodied ways of working.

The second expanded edition of this acclaimed book features a new essay by Lucy Cotter entitled “Artistic Research in a World on Fire” that reflects on the changing stakes of artistic research in the wake of the global pandemic, a widespread reckoning with social justice and equity, the growing role of artificial intelligence, and the urgent reality of climate change. Building on the book’s original twenty dialogues with global artists, the second edition features new dialogues with artists Stephanie Dinkins, Cannupa Hanska Luger, Yo-Yo Lin, and Richard Mosse, whose practices attend to questions of human and nonhuman survival, self-care, and collective care, new technologies, and the unlearning of ableist, gendered, sexist, and racist paradigms.

Dialogues with: Lawrence Abu Hamdan, Katayoun Arian, Carolyn Christov-Bakargiev, Stephanie Dinkins, Sher Doruff, Em'kal Eyongakpa, Ryan Gander, Mario García Torres, Liam Gillick, Natasha Ginwala, Cannupa Hanska Luger, Sky Hopinka, Manuela Infante, Euridice Zaituna Kala, Grada Kilomba, Yo-Yo Lin, Sarat Maharaj, Emma Moore, Richard Mosse, Rabih Mroué, Christian Nyampeta, Yuri Pattison, Falke Pisano, Sarah Rifky, Samson Young, Katarina Zdjelar. Designed by Tomáš Celizna (with Martina Vanini).

Proceedings of CARPA8 are now published

Proceedings of CARPA8 Solvitur Ambulando“solved by moving” Dramaturgies of Artistic Research has been published in the online publication series Nivel – Artistic Research in the Performing Arts. You can access the proceedings at the link above.

We warmly thank all the authors for their contribution to this publication! 

CARPA8 Conference?SOLVITUR AMBULANDO ‘solved by moving’ DRAMATURGIES OF ARTISTIC RESEARCH ?was held on 24–26 August 2023 in Helsinki.?The conference was arranged by the Performing Arts Research Centre (Tutke) in collaboration with the Comparative Dramaturgy and Performance Research Programme, both situated at the Theatre Academy, University of the Arts Helsinki. 

This convening, a colloquium & laboratory, brought together two processual activities and kept them in motion: dramaturgy and artistic research. CARPA8 Conference had three Plenary Session presentations, 27 other presentations, three?Setting things in Motion?and three Overview? workshops. The Plenary Session presenters were Synne Behrndt (University of the Arts, Stockholm), Marcela A. Fuentes (Northwestern University) and Hanns Holger Rutz (Gustav Mahler Private University for Music). In addition, the conference arranged Solvitur ambulando ?outdoor walks in groups and a selection of short film presentations.

All together CARPA8 had 90 participants from 22 different countries. CARPA8?Conference Committee consisted of Leena Rouhiainen (Chair), Otso Huopaniemi (Chair), Katalin Trencsényi and Jess Applebaum.

Tad Richards Jazz with a Beat Small Group Swing 1940-1960 (Excelsior)

Jazz with a Beat is the first book on the often overlooked but vitally important genre of small group swing jazz. Coming into being in the early 1940s, small group swing answered the need in the Black community for a form of jazz that was more accessible (and more danceable) than the new bebop. An adaptation of the big band Black swing (Erskine Hawkins, Jimmie Lunceford, Chick Webb) of the 1930s to small combos, and with a more vigorous beat for the new generation, this music developed and was beloved through the 1940s, continued to be enjoyed through the rock and roll years of the 1950s, and was a major influence on the soul jazz of the 1960s. Among the many hit artists portrayed in these pages are Illinois Jacquet, Louis Jordan, Big Jay McNeely, Joe Liggins, Nat "King" Cole, Red Prysock, Ruth Brown, Nellie Lutcher, Camille Howard, T-Bone Walker, and Ray Charles. Dismissed as "rhythm and blues," this music has been ignored by jazz historians. Jazz with a Beat honors this music as a legitimate genre of jazz and is a stirring evocation of an era. It should be of interest to lovers of jazz and Americana.

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