October News from the Jazz Education Network Research Interest Group

I am more than excited to share that the first edition of Jazz Education in Research and Practice (JAZZ) is now available to all JEN Full, Corporate, & Institutional members as well as all Chapter Organizers.

Follow this link and log into your JEN account to read the amazing collection of articles and please recommend a subscription to your school and town libraries. There is also a link to purchase discounted print copies. The second edition is in the printing process and will be available by the January conference with electronic access for all JEN members. Thanks to everyone who made this very special membership benefit and fundamental contribution to the field of jazz and jazz education possible. With your continued support we will be able to grow a knowledge base that will benefit generations to come.

We look forward to a day of presentations at the JEN conference, January 6-9 streamed from the Galt House in Louisville. On Wednesday, January 6, we will stream a variety of presentations and panel discussions, including discussions with the new leaders and board members of the International Network for Artistic Research and Jazz (INAR - find the conference callout below) under the leadership of Michael Kahr from KUG Jazz and Jam Lab in Austria, and a discussion on current research practices under the leadership of former editor of the Journal for Research in Music Education Harry Price. Find more info on the presentations here. Throughout the conference 20 poster presentations will be available for further exploration and on Thursday, January 7 at noon enjoy my Jazz Fusion group The Time Flies live from the Galt House. Time to sign up for the conference!

I’m also excited to share a special edition of Artivate that I served as the guest editor for with a focus on Arts Entrepreneurship Education. I also contributed an article chronicling the entrepreneurship of the ABCs of Jazz - Jamey Aebersold, David Baker, and Jerry Coker - as a case study for enabling a growth mindset through improvisatory training. The case study exemplifies my Jazz Jam Session Model for Group Creativity and provides a powerful advocacy tool for improvisational training and curriculum inclusion.

The list of jazz publications and related journals is growing - please see the current list and add any publications missing from the list here. We’re hoping this crowd-sourced effort will help us compile the most comprehensive resource possible.

Please feel free to share this news compilation and invite colleagues to join the mailing list and/or Facebook 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
Editor, JAZZ (Jazz Education in Research and Practice)

The Jazz Education Network was founded to support and sustain the art form that was born out of the legacy of black resistance. Our music calls us to speak out and actively work on behalf of justice and equality. We share in the pain and disgust of watching another black citizen murdered in public view as they pleaded for their life. JEN stands with #blacklivesmatter and all other organizations and individuals who are protesting the unrelenting and corrupt racist system that does not value black Americans in our society.

Feed the Fire: A Cyber Symposium in Honor of Geri Allen celebrates the work of the late pianist, composer, improviser, and educator, and serves as a launch for a special issue of the journal Jazz and Culture, “The Power of Geri Allen.” Feed the Fire focuses on Allen’s work in music as a performer, composer, teacher, activist, and mentor, and features a keynote event with Terri Lyne Carrington (Berklee College of Music), Angela Davis (U. of California, Santa Cruz), Gina Dent (U. of California, Santa Cruz), and Farah Jasmine Griffin (Columbia U.). This all-day, online event taking place on Thursday, November 5th from 9:30 am - 5:30 pm EDT, is free and open to the public, as part of a week-long celebration of the 50th anniversary of the Pitt Jazz Seminar.

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A hard-bop stalwart. An avant-garde original. A ceiling-shattering bandleader. A bebop-obsessive broadcaster. These are some brief descriptors for the incoming class of NEA Jazz Masters, announced this morning by the National Endowment for the Arts.

Those four 2021 inductees — saxophonist, flutist and composer Henry Threadgill; drummers Albert "Tootie" Heath and Terri Lyne Carrington; and radio host and jazz historian Phil Schaap — will each receive $25,000 along with their title. The NEA Jazz Masters fellowship, awarded every year since 1982, is the nation's highest honor reserved for living jazz artists and advocates. Selections are made through a public nomination process, followed by an expert panel review.

Heath, who at 85 is the elder of this class, has been a first-call sideman since his earliest recording date — in 1957, on John Coltrane's debut album, Coltrane. He went on to back an array of other leading jazz modernists, from Art Farmer to Yusef Lateef, before establishing his track record as a bandleader. For years he also worked extensively with The Heath Brothers, alongside his older siblings Percy, a bassist, and Jimmy, a saxophonist. (Percy and Jimmy were both named NEA Jazz Masters in the early 2000s; Percy died in 2005, and Jimmy died last year.)
Threadgill, 76 and pictured above, is one of the most distinguished composers in improvised music, and a bandleader of relentless invention. An original member of the Association for the Advancement of Creative Musicians in his hometown of Chicago, he rose to prominence in the 1970s with a cooperative trio called Air, featuring bassist Fred Hopkins and drummer Steve McCall. Then came a succession of his own rollicking bands, including the Henry Threadgill Sextett (in the 1980s) and Very Very Circus (in the '90s). He won the Pulitzer Prize for Music in 2016 for the double album In For a Penny, In For a Pound, featuring his inimitable 21st-century ensemble Zooid.

The A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy is awarded each year to a figure whose contribution occurs off the bandstand. Schaap, 69, who has been on the air at the Columbia University radio station WKCR for almost half a century, decisively fits the bill. His signature program — Bird Flight, a garrulous, fact-filled examination of Charlie Parker's music — has earned enough cult appreciation to warrant a profile in The New Yorker (by its editor-in-chief, David Remnick, no less). Schaap has won six Grammy awards, either as a producer or for his liner notes, and taught jazz history at Columbia and elsewhere. As a curator at Jazz at Lincoln Center, he created that organization's educational program Swing University.

Finally, at 55, Carrington is among the youngest NEA Jazz Masters ever recognized — but that's a familiar situation for her, as a former prodigy. (She received a scholarship to the Berklee College of Music at 11.) Mentored by Wayne Shorter and Herbie Hancock, she embarked on a solo career in the late 1980s. She won the first of her three Grammy Awards in 2011 for The Mosaic Project, featuring a colorful array of fellow female artists. And Carrington — who played a Tiny Desk Concert with her most recent project, Social Science, earlier this year — is founder and artistic director of the Berklee Institute of Jazz and Gender Justice.

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This special issue of Riffs on Popular Music Ethnographies aims to bring together ethnographic writing from any discipline, theoretical perspective or methodological approach. We welcome submissions from writers from academic and non-academic backgrounds. We also encourage short contributions; these could include written, visual, and musical elements and/or interrogate traditional and experimental forms of communication of ideas and arguments. We also welcome collaborations between writers, poets, musicians, composers and visual artists. In-keeping with the Riffs aim, we hope to include work from a variety of contributors.

Explorations of Popular Music Ethnographies could consider the following themes:

The spectacle of live music performance
Off-and online listening experiences
Places, objects, sounds, & bodily experiences
Visual or audio materials and technologies
Biographical reflections
Festivals, zine creation and distribution
Music scene production and participation
Historical & geographical music locations
Audiences, music collections, fandom
Musicians' futures under COVID-19
Genres to include: grime, rap, rai, soul, jazz, rock, folk, metal, punk, reggae, slam poets or ambient minimalists.

Popular music ethnography transports and immerses people into new and unfamiliar worlds. The sights, sounds, smells, and emotions of making and experiencing music – carefully curated – sow the seeds of critical insights and we step into and through a scene, an industry, a performance, a particular moment in time or an amalgamation of years watching, listening and taking part. For a moment, we are there. We travel with the narrator and are called upon to do our own part of the intellectual labour. As a creative and experimental space, Riffs encourages critical engagement not only with popular music as a topic, but with the ways in which we analyse and communicate our observations. We welcome traditional, experimental or multimedia engagements with ethnography as a research approach and as a way of writing.

Proposal Deadline: November 15th, 2020

Proposal to include a title and 300-word synopsis, your name(s), a short bio and contact email.

Full submissions (2000-7000 words / visual (to not exceed 8 A4 pages) are expected by May 15th, 2021.

All visual and audio content must have a Creative Commons License, be owned by the contributor or with full owner permissions. All proposals submitted to Riffs will be considered by the editorial panel and invited contributions will be peer reviewed before publication.

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"The skillful thinker in search of the incorporeal part of man is not unlike the believer who continues searching for the Beloved."

- Yusef A. Lateef, Another Avenue, 2006.

Remarkably prolific, assiduously focused, and a creative intellectual who defied facile stereotypes and categories, Dr. Yusef Abdul Lateef (October 1920—December 2013) modeled an expansive life in music and the arts, only a small portion of which has received scholarly attention. By the late 1940s, Lateef was on tour with Dizzy Gillespie’s band, and later played with Cannonball Adderley, Charles Mingus, and Babatunde Olatunji. Known first as a prodigious saxophonist and flutist who emerged from the Detroit scene of the 1950s, by 1957 Lateef was recording as a leader, and his subsequent albums on Savoy, Prestige, Impulse!, Atlantic, and CTI Records, as well as his own YAL label, have had a profound influence on many musicians and listeners since their releases.

A part of the year-long celebration of Lateef’s centenary produced by Glenn Siegel at the Fine Arts Center at UMass Amherst, Jason Robinson (Amherst College) and Priscilla Page (UMass Amherst) will curate an ongoing series of scholarly papers and related multimedia-rich digital humanities companion pieces under the title “In Search of The Beloved, New Scholarship on Yusef Lateef” to be published on the UMass Fine Arts Center’s website. We invite paper proposals (and accompanying multimedia-rich digital humanities companion pieces) that focus on any aspect of Dr. Lateef’s life, creative work, and influence, grounded in scholarship and matching the expansiveness of his views on life and art, and we encourage potential contributors to use this opportunity to begin new or refine ongoing research. We anticipate a future edited volume to emerge from the project; otherwise, we hope that submissions will evolve into journal articles or other publications.

With a rolling deadline, papers and accompanying multimedia-rich digital humanities pieces will be published as they are received for the duration of Dr. Lateef’s centenary year of his birth (October 9, 2020 through October 8, 2021). We invite proposals of up to 250 words at any time until June 24, 2021. Proposals should be accompanied by an author biography of 50 words. Proposals will be reviewed within two weeks of submission, and if accepted, authors will be asked to submit a completed version of their paper, of around 3,000 words, in PDF format within three months. Authors are also strongly encouraged to submit/envision/propose an accompanying multimedia-rich digital humanities piece, which might include a video recording of their paper presentation with audiovisual elements, or an enhanced PDF with images, sound, and/or video, or something more expansive and complex.

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The International Network for Artistic Research in Jazz (INARJ) and Royal Birmingham Conservatoire invite expressions of interest from potential contributors to an online artistic jazz research symposium to be held on 18-22 January 2021. The aim of the symposium is to facilitate dialogue between artistic jazz researchers worldwide with a view to further consolidating and expanding a global research network. Contributors will be asked to prepare and submit a 10-15 minute video presentation of an aspect of their research that in some way addresses the four points listed below, which are some of the main talking points that the group has been discussing so far. Video submissions will be scheduled for broadcast over the course of the symposium, and chaired breakout sessions will allow for interactive discussion between participants.

At the present time it is our hope to be able to combine an element of physical hosting at Royal Birmingham Conservatoire (GBR), University of Stavanger (NOR), Monash University (AUS) and Jam Music Lab Private University for Jazz and Popular Music (AUT) to complement the online sessions. However, this will be contingent on the continuing COVID 19 situation. Additionally we would like to extend the invitation to other institutions to act as virtual symposium hubs.

Conference paper discussion points:

1) Research of vs. research with. Is there/should there be a distinction between using practice as a vehicle to articulate/disseminate research findings where the research output is a performance or similar, and more traditional research methods that disseminate knowledge generated by practice where the output is transcription/text that describes performance? In the case of the latter, what is the distinction between this and more traditional forms of musicology?

2) Demonstrating ‘rigour’ in improvised music. To what extent is it possible to demonstrate – and consequently assess – the rigour of research that uses improvisation as a central component?

3) Knowledge exchange via improvised music practice. If we are to align ourselves with the broader field of jazz studies, might it be necessary to find ways of better communicating the knowledge gained from artistic research? What might those modes of communication be?

4) Value/application of knowledge to the wider research community. How can we better ensure rigour and mediating between artistic research and the potentially subjective nature of artistic practice and improvisation practice?

Please submit a written abstract (c.150 words) outlining the proposed submissions by November 9th, 2020.

Please send by email to michael.fletcher@bcu.ac.uk.

Successful applicants will be notified by December 1st, 2020 and invited to prepare and submit a pre-recorded audio or video presentation by January 1st, 2021.

The International Network for Artistic Research in Jazz - Mission Statement

- Establish a formalised network of artistic researchers in jazz
- Host an annual meeting
- Open dialogue on the state of artistic research in jazz internationally -
- Increase visibility of artistic research in jazz as an independent sub-discipline

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The International Society of Jazz Arrangers & Composers, in tandem with University of South Florida and Distinguished Professor, Chuck Owen, are delighted to announce the dates and guidelines for the annual Owen Prize offered to young, up-and-coming, jazz composers. The composer of the winning work will receive a $1,500 cash award along with a travel allowance of $500 towards attendance at ISJAC’s 2022 Jazz Composers’ Symposium at the University of Texas at Austin (USA). The selected work will also be performed before an audience of distinguished jazz composers throughout the world as part of ISJAC’s 2021 Un[charted] Territory – An ISJAC Zoomfest or as part of the 2022 Jazz Composers’ Symposium in Austin, TX.

Eligibility: Any student, currently enrolled full-time in an accredited, degree-granting institution, regardless of major, may apply. The competition is restricted to those age 26 or younger at the time of submission of materials.

Submission Guidelines: Those wishing to apply for this prize must submit the following materials via the portal on the ISJAC website www.isjac.org. Registration as an ISJAC member is required but free.
Application Form and $35 fee
Full score in PDF format
mp3 of best recording of the work

This year’s competition is for jazz big band. Works for ten or more instruments that may not consist of traditional big band instrumentation (including strings, percussion, electronics, etc.) are eligible and will be adjudicated. However, if selected as the winner, a non-traditional work may not be able to be performed at the Symposium.

Applicants may submit one work only (either an original composition or arrangement) which should have been written within the last two years.

Dates: All applications must be received by November 19th, 2020. Late submissions will not be considered. Notification of the winning work will be made in early January 2021.

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The International Society of Jazz Arrangers & Composers, in tandem with University of South Florida, is delighted to announce the dates and guidelines for the inaugural Prize for Emerging Black Composers offered to young, up-and-coming composers of color. The composer of the winning work will receive a $1,000 cash award and will have their piece performed before an audience of distinguished jazz composers from throughout the world as part of ISJAC’s 2021 Un[chart]ed Territory – An ISJAC Zoomfest or as part of the 2022 Jazz Composers’ Symposium hosted by the University of Texas at Austin.

Eligibility: The competition is restricted to those composers age 26 or younger at the time of submission of materials.

Submission Guidelines: Those wishing to apply for this prize must submit the following materials via the portal on the ISJAC website www.isjac.org. Registration as an ISJAC member is required but free.
Application Form (fee waived for inaugural prize)
Full score in PDF format
Mp3 of best recording of the work

The competition is open to works for any instrumentation. However, if selected as the winner, a non-traditional work using instruments, beyond those found in a traditional jazz combo or big band, may not be able to be performed.
Applicants may submit one work only (either an original composition or arrangement) which must have been written within the last two years.

Dates: All applications must be received by November 19th, 2020. Late submissions will not be considered. Notification of the winning work will be made in early January 2021.

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docARTES is an international inter-university doctoral programme for practice-based research in musical arts, designed for musician-researchers.

More than just stimulating and facilitating artist-researchers, docARTES provides a 4-year doctoral curriculum, consisting of research and training. It allows doctoral students to develop their artistic qualities, broaden their academic knowledge and expand their methodological skills. This curriculum is supplemented by individual research supervision. docARTES is also integrated in a professional artistic research biotope, preparing doctoral students for a professional career as artistic researcher.

In April 2021, the Orpheus Institute will be organising entrance examinations for the docARTES programme of 2021 - 2022, commencing in September 2021.

Application deadline: January 15th, 2021

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On October 7–9, 2021, members of The College Music Society will assemble in Rochester, New York at the Hyatt Regency Rochester & Riverside Convention Center for our 64th National Conference. Significant activities within this conference will take place at the Eastman School of Music, which celebrates its centennial in 2021, and is located just down the street from the Convention Center. On behalf of the 2021 CMS National Conference Program Committee, I invite you to submit a proposal for participation.

Our call for proposals builds on the Society’s common topic for 2019–2020 of “Fostering Equity and Opportunity in Music,” while also looking to the future through the Society’s emphasis on leading change in turbulent times. We invite performances, lecture-recitals, new compositions, scholarly papers, research posters, demonstrations, panels and workshops; in addition, we encourage proposals for campfire discussions, which are facilitated conversations around a specific theme that invite everyone to participate. This year’s conference call includes two separate calls for new compositions, as we have included a call with provided performers from the student chamber music groups at the Eastman School of Music. The committee would like to encourage colleagues from across our profession, from independent musicians and scholars, to students, and members from all areas of the music industry and academia, to submit proposals and join us for this conference. More details about the specific proposal submission formats, and the full conference description, can be found on the conference website.

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Call for Participation

Due On: November 1, 2020 at 11:59 pm EST

Creating Space: Critical Reflections on Challenges and Opportunities for Popular Music Education

Popular music has the power to heal and offer spaces to connect communities. However, popular music education has not always been responsive to issues of social justice, access, and economic inequities. In light of these challenges and opportunities, the APME conference will offer and create spaces for dialogue and critical reflection through presentations, discussions, and performances that give participants actionable ideas and inspiration to take back to their communities to enact change in their own spaces.
We are planning for hybrid live and virtual options. There is no fee to submit a proposal. Membership and registration will be required should your proposal be accepted. Registration TBA.
We welcome proposals for papers, presentations, workshops, panels and performances from a broad range of contexts and perspectives including:

Popular Music Education in the era of COVID-19
Social justice & artistic citizenship
Black Lives Matter
Online and social media spaces
Healing power of popular music education
Innovative approaches in music teaching and learning
Recording, production, and music technologies
Community musics
Crossover musics
Inclusion and diversity
Curricula and assessment practices
Pedagogies for Popular Music Education
Adult education
Music therapy
Populism and popularity
Collegiality, communities, and collectives
Facilities and facilitation
Reconciling commercial interests and educational aspirations
Bounded and boundaryless careers
Skill and economic barriers to entry
Private and ensemble spaces

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Exploring the many vulnerabilities that come with research committed to social change, this collection seeks critical stories, reflections, and analyses about innovative interdisciplinary methodologies that engage with unconventional and unexpected spaces of research that we inhabit and share, encouraging us to collaborate, reflect, and confront the frictions of social change drawing on the territories and regions across parts of Turtle Island (Canada). They are open to submissions that include languages and storytelling modes other than written English and/or dominant/Western storytelling traditions. Abstracts & author bios are due: January 15, 2021.

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The Journal of Performance and Mindfulness is soliciting contributions which explore connections between improvisation and mindfulness in a range of performance forms; including the various lineages of “impro” and “improv,” comedy, long-form storytelling, music, and movement. Besides critical scholarly articles, guest editor Prof. Anton Krueger would also be delighted to receive reviews of books, productions, or companies as well as interviews with individuals working in these fields. They would also be interested in sharing practices developed by improvisers which assist in mindfulness; as well as mindfulness-based exercises which might be useful to improvisers. This issue of The Journal of Performance and Mindfulness will be published throughout 2021.

Deadline: submissions can be uploaded to the journal online between October 1st, 2020 and June 30th, 2021.

Enquiries may be sent to Guest Editor, Prof. Anton Krueger, of Rhodes University, South Africa, at a.krueger@ru.ac.za.

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January 22–24, 2021
Department of Music, University of Pittsburgh

Deadline for Proposals: November 23, 2020

Keynote Co-speakers: Dr. Sherrie Tucker, University of Kansas
Dr. Michelle Heffner Haynes

The Music and Movement Conference seeks to bring scholars, musicians, composers, and performing artists together in conversation regarding the dynamic relationship between movement and music. Each panel will feature both paper presentations and performances, underscoring the ways in which the various subdisciplines of music and the performing arts can inform and reinforce one another. This conference will investigate the role of movement in musical creation, reception, and understanding, addressing topics such as:

Negotiations and dialogues between dance and music
Gesture-sound mappings and performer-instrument relationships
Migration and music
Kinesthesia and haptic perception

The virtual conference will take place over Zoom on January 22–24, 2021. Applications are due on November 23, 2020, and results will be sent to all applicants in early December.

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PEERS Programme for Emerging Artistic Researchers

PEERS is a new pre-PhD programme of the Department of Performing Arts and Film at Zurich University of the Arts (ZHdK). Its main aim is to support emerging artistic researchers who are interested in pursuing a doctorate in the arts, foremost yet not exclusively in the performing arts and film. For a period of one year, starting in March 2021, participants will be offered the opportunity to benefit from an intensive mentoring and training programme. They will become part of the vibrant research environment at ZHdK (such as lab-practice, colloquia, symposia, research academy), and will gain access to the University's outstanding infrastructure and relevant professional networks. Participants will also benefit from peer-to-peer learning in the Junior Research Group and will receive tailored support aimed at promoting their individual development. They will be assisted in developing their individual research plan, as well as in searching and applying for artistic PhD programmes at ZHdK and beyond.

For more information and a schedule of activities: https://blog.zhdk.ch/dritterzyklusddk/

How to apply

We are looking for five mid-career artists with profound artistic practice in theatre, dance, performance or film. Candidates must hold an MA or an equivalent degree. They will be expected to develop research and peer learning methodologies, as well as have a viable research plan.

[CALL FOR APPLICATIONS 2020]

Applications may be submitted in English or German. Zurich University of the Arts is committed to equal opportunities and to advancing inclusion and diversity.

Application deadline: 15. December 2020 (5 pm Swiss local time). Please submit your application as a single PDF file to: peers.ipf@zhdk.ch

Candidates will be informed by the end of December 2020 whether they have been shortlisted for the PEERS programme. The shortlisted candidates will be invited to attend a Zoom interview on either 11 or 21 January 2021. The programme will begin in March 2021 (detailed schedule: (https://blog.zhdk.ch/dritterzyklusddk/).

Zoom Q&A: Friday, 6 November 2020, 12–1.30 pm and Monday, 9 November, 4–5.30 pm (Swiss local time): Candidates will have the opportunity to discuss their questions directly with Yvonne Schmidt, PEERS programme director. To register and receive the Zoom link, please e-mail peers.ipf@zhdk.ch.

Feel free to forward the information within your network.

Zurich University of the Arts
Institute for the Performing Arts and Film

contact: peers.ipf@zhdk.ch

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Komeda: A Private Life in Jazz is the biography of Krzysztof (Trzciński) Komeda (1931-1969), composer of no fewer than 40 soundtracks, including film scores to all of Roman Polański’s early films such as Knife in the Water and Rosemary’s Baby; and a revered figure in the world of jazz, which regards his record, Astigmatic (released in 1966), as a key album in the history of European jazz.

This biography of Komeda, originally published in Polish by Znak in 2018, is the first to be published in the English language and not only traces Komeda’s life, but also the development of Polish jazz during this period. It explores how this arose in large part out of a need for self-expression and personal freedom during a repressive period of Soviet communist dominance.

The book is full of interviews between the biographer and people who worked with and knew Krzysztof Komeda personally, and, while thoroughly-grounded in primary sources, it is written in a playful, questioning, engaging style.

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This special edition of Artivate, assembled by guest editor Monika Herzig, contains four articles that explore arts entrepreneurship education. The research in each article was presented at the 2020 New. Not Normal symposium hosted by the Center for Cultural Affairs at Indiana University in conjunction with the Leveraging Creativity virtual conference. In these pages are an exploration of the successful transdisciplinary integration of an arts entrepreneurship curriculum into the wider curriculum at a liberal arts college, findings on the impact of teacher-created learning environments on experiential education, an examination of entrepreneurship skills acquisition by craft artists in a legacy city operating outside of an academic setting, and a jazz-based case study on the role of improvisational training in entrepreneurship pedagogy.

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Archivists must approach description of music somewhat differently: textual, contextual, and musical sources of information may all impact archival description of notated music. Archival Description of Notated Music (ADNM) provides guidance intended for a wide readership and is helpful for experienced archivists with limited knowledge of music, music librarians with limited knowledge of archival practice, archival students, and others with responsibility for archival collections with notated music. It includes discussion of fundamental archival principles as applied to collections with notated music, recommendations for descriptive approaches based on the musical and non-musical content of a collection, a glossary, and an annotated resource list. In addition, included as an appendix are the Guidelines for Archival Description of Notated Music, which provide a standard for archival description of notated music and represent the first subject-specific supplement to Describing Archives: A Content Standard (DACS).

The Guidelines for Archival Description of Notated Music contained in the book were officially adopted as a standard by the Council of the Society of American Archivists in December 2019, following review by the SAA Standards Committee, its Technical Subcommittee for Describing Archives: A Content Standard, and the general archival community.

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Journal of Popular Music Studies is the peer-reviewed, quarterly publication of the U.S. Branch of the International Association for the Study of Popular Music.

The journal’s purview encompasses all genres of music that have been dubbed popular in any geographic region. In addition to mainstream genres such as rock, hip hop, EDM, punk, or country, it explores popular forms ranging from broadsides to Broadway to Bollywood film music. It aims to present popular music scholarship from a variety of disciplinary perspectives, including history, sociology, musicology, ethnomusicology, cultural studies, and communication.

Recent Publications Include:
Chicana/o Sounds: Field Notes from the Chicana/o and Sound Studies 2020 MLA Panel

José Navarro
Campus Rock: Rock Music Culture on the College Campus during the Counterculture Sixties, 1967-1968

James Carter
Hip Hop and the University: The Epistemologies of “Street Knowledge” and “Book Knowledge”

Sara Hakeem Grewal
Sonic Necessity and Compositional Invention in #BluesHop : Composing the Blues for Sample-Based Hip Hop

Michail Exarchos (aka Stereo Mike)
Post-Punk Polyrhythms: A Conversation with Rachel Aggs

J. Kēhaulani Kauanui (aka DJ Pineapple Krush)

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Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day.

Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans–style clarinetist Tom Sancton.

While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.

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