March News from the Jazz Education Network Research Interest Group

Dear Friends,

Welcome to the March edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities.

Don’t miss out - only a few days left to submit your conference proposals for presentations, clinics, and concerts for the 2022 JEN Conference in Dallas. Submissions are open until March 31 on the JEN website. Note that you need to be a member to apply. If you’re applying for a research presentation also consider a poster presentation - it’ll increase chances for inclusion and is a great way to connect with attendees in an informal setting.

We’re extending the submission deadline for the third issue of JAZZ (Jazz Education in Research and Practice) to May 1 - find submission info on the journal portal. The journal features a wide variety of contributions from full research articles, to quick tips, reflective essays, and book reviews. This is a great opportunity to share your work in a double-blind peer reviewed journal and contribute knowledge to the field . Also, please share the callout with your colleagues and students, feel free to contact me with questions!

The second issue of JAZZ (Jazz Education in Research and Practice) has arrived! It features 200 pages of research articles, case studies, tips, essays, and reviews, all peer-reviewed and edited throughout this past year. JEN membership includes full access on the JEN website, find it here. Please encourage your libraries to order a subscription to this invaluable resource for teachers and students alike from this link. And of course, consider a hard copy for your personal library.

I’m still hoping to get more feedback on possible strategies and initiatives for the JEN Research Interest Group. Here is a quick survey - click here and share your input and how you might want to be involved/ support the JEN Research Committee or the Journal Editorial Board, and any suggestions for future directions of our committee. Thank you so much for your input. You can also email me at mherzig@indiana.edu.

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 acebook page.

Best Wishes for the start of a new semester and lots of positive news in 2021.

Sincerely,

Monika Herzig

JEN Research Interest Group Committee Chair

Editor, JAZZ (Jazz Education in Research and Practice)

His publicist, Lydia Liebman, said the cause was complications of cancer, which he had been fighting for six years.

Mr. Peterson came to the fore in the 1980s as a member of the so-called Young Lions, a coterie of improvisers devoted to the core ideals of bebop: swing rhythm, acoustic instrumentation and rigorous improvisational exchange within the constraints of a standard song form.

He was probably the most prominent drummer among the Young Lions to consistently front his own groups, and over more than 30 years as a bandleader he released about two dozen albums with an array of ensembles.

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The RC functions as a platform for the dissemination of peer-reviewed content and publications, for students’ presentations of work and the assessment of such work – as well as for self-published research outcomes.
The Research Catalogue is provided by the Society for Artistic Research (SAR). RC enables students, artists and researchers to deviate from the standard format of academic presentations, journal articles and/or research repositories:

Because images and sounds are not subordinate to, but fundamentally on a par with the text;
Because of the opportunity provided to break out of the linear narrative structure;
Because it facilitates the option for a continuous (and collaborative) research activity from notation/documenting research processes and initial outcomes to fully elaborated publications.

The RC offers an online platform in which sound, images, video and text can be combined in an integrated format for presentation, and in which the visual disposition and the focus on different media formats can be decided by the author herself/himself.
The RC is available as a unique portal option for institutions and on-line journals.
As Portal Partner the RC offers a range of opportunities, such as:

Institutional documentation and publication platform;
Institutional archive, repository;
Research documentation and collaborative workspace for staff and students;
Research managing tool (e.g., application system);
Online rich media platform for peer reviewed journals.

For these purposes, the RC hosts a number of public portals for institutional presentation and archiving of research outcomes under each portal’s own criteria. At this stage approx. 20 institutions have subscribed for such a portal – not all of them are yet publicly active.
For the SAR Portal Partners, we now also provide the option of an internal (closed) portal for student related activities at bachelor, master and/or doctoral level. This internal platform may be used for student’s presentation of work outcomes, for teaching and learning (including supervision) purposes and for online assessment of student examination work. The institution can decide what part(s) of such material should be archived and/or shown on their public portal.

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Critical Studies in Improvisation graduate students in the Arts-Based Community-Making class want to hear from the arts community!

Under the supervision of Dr. Ajay Heble and in collaboration with the Guelph Arts Council, students in this class are researching how the COVID-19 Pandemic is impacting the arts community. They want to hear how creative artists and arts-based organizations have responded to, adapted, and improvised their work, events, programming, engagement, and funding over the past year. Any artists and arts organizers are welcome to participate in the survey, which is open until March 31st.

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With six authors of nominees for the 2021 JJA Jazz Award for Book of the Year About Jazz convening on a Zoom call that will be streamed live to the JJA’s Facebook page on Sunday, March 21, 2 pm EDT, Book Committee chair Bob Blumenthal sent this further report:

“As often happens, a final list of nominees cannot represent the full range of worthy publications that appeared in 2020. As members of the JJA Book Committee, we wanted to note other volumes that impressed us in our deliberations. Committee members’ names for the endorsements

NOMINEES

JAZZ is distributed to all JEN members upon publication and available to the general public through JSTOR and Project Muse. Submission deadline for JAZZ, Vol III is April 15, 2021 at this link:
https://scholarworks.iu.edu/iupjournals/index.php/jazz/information/authors

For questions contact: Monika Herzig mherzig@indiana.edu

The following types of articles will be considered for publication:

Research Studies: data-driven formal research projects with appropriate analysis, formal hypotheses and their testing, etc. These studies use either a quantitative or qualitative methodology that the authors should describe in detail. Accepted articles contain rigorous research that also leads to significant new understanding in pedagogy.
Case studies: a case study that focuses on an intense analysis of a specific teaching situation or problem that led to a solution. Case studies should have the following components: description of the teaching situation or problem, solution or solutions attempted, quantitative or qualitative analysis of the effectiveness of the solution, reflection on the implications and possible generalization to other settings or populations.

Reflective essays: essays that challenge current practice, encourage experimentation, or draw novel conclusions.

Literature reviews: a systematic review or meta-analysis of the literature that illuminates new relationships and understanding of contemporary issues bridging teaching and learning.

Quick Hits: a brief contribution describing innovative teaching practices or a novel use of a teaching or learning tool that has already been successfully implemented (1500 words or less). It should describe the practice or use of the tool as a step-by-step process and include sufficient detail to allow another educator to use the Quick Hit in his or her own teaching.

The title page should include: the title of the article, the names of all authors, their affiliations and email addresses, and funding mechanisms if applicable. No other parts of the submission should include information that can be used to identify the authors.

The article should be accompanied by an Abstract of 150-200 words and three to five key words. Please do not include citations in the abstract.

Journal articles should be no more than 8000 words including endnotes, citations, and abstract using APA format. Please refer to the style guidelines on the website at https://scholarworks.iu.edu/iupjournals/index.php/jazz/about/submissions#authorGuidelines

Book Reviews

Each issue of JAZZ includes a review of recent books related to jazz education. The reviews of these books should rise to the same level of rigor as the other articles published in JAZZ that is, they should critically discuss the content and possible applications to the field in a respectful manner that is informative to authors and readers. Book Reviews should be no more than 2500 words in length, including endnotes.

Important Dates

Full Article Submission - May 1, 2021

Notification regarding acceptance/ revisions - June 30, 2021

Submission after revision - July 30, 2021

Publication of Volume III - January 3, 2022

The Jazz Education Network invites you to apply to present your research as either a research clinic or poster session at our 13th Annual Conference, January 5-8, 2022 in Dallas, Texas.

Please note: all applicants must be a member of the Jazz Education Network at the Full Individual ($96/year) membership level or higher.

RESEARCH CLINIC APPLICATION

The research clinic application requires the following materials:

HIGH RES PHOTO of the artist performer/presenter or ensemble this application.
Clinic Title: MAXIMUM 20 words. Use title case. Do not use special characters, e.g.quotations, asterisks, etc.
Support Personnel: List all individuals or any ensemble name that should receive shared listing in the program materials.
Description: Do include any sponsoring company listing(s). MAXIMUM 50 words. Use title case. Do not use special characters, e.g.quotations, asterisks, etc.
Clinic Outline: MAXIMUM one page.
Clinician Bio: MAXIMUM one page. Label the outline file appropriately as follows PRIOR to uploading

RESEARCH POSTER SESSION APPLICATION

The research poster session application requires the following materials:

HIGH RES PHOTO of the artist performer/presenter or ensemble this application.
Research Session Title: MAXIMUM 20 words. Use title case. Do not use special characters, e.g.quotations, asterisks, etc.
Support Personnel: List all individuals that should receive shared listing in the program materials.
Description: Do include sponsoring company listing(s). MAXIMUM 50 words. Use title case. Do not use special characters, e.g.quotations, asterisks, etc.
Research Abstract (Outline): MAXIMUM one page.
Researcher Bio: MAXIMUM one page.

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The second Conference on AI Music Creativity brings together two overlapping research forums: The Computer Simulation of Music Creativity Conference (est. 2016) and The International Workshop on Musical Metacreation (est. 2012). The objective of the conference is to bring together scholars and artists interested in the emulation and extension of musical creativity through computational means and to provide them with an interdisciplinary platform in which to present and discuss their work in scientific and artistic contexts.

The 2021 Conference on AI Music Creativity will be hosted by the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts of Graz, Austria and held online. The five-day program will feature paper presentations, concerts, panel discussions, workshops, tutorials, sound installations and three keynotes, by Georgina Born, George E. Lewis and Rebecca Fiebrink.

The theme of this year’s conference is: Performing [with] machines. The dual meaning of this title hints towards an understanding of the machine as a performing agent in a human-machine partnership. By putting the emphasis on creative human-machine partnerships in performative contexts, this theme aims to encourage artistic and scientific contributions that deal with the different ways in which musicianship, authorship and performership are challenged, extended and redefined in the era of AI.

In line with this theme, we invite contributions that address the implications of AI for existing and emerging artistic practices. In particular, we encourage submissions that address, but are in no way limited to, the following questions: In what ways can machine intelligence enrich existing artistic practices and lead to the development of new ones? What are the implications of machine autonomy for authorship and performership? What are the challenges and limitations relating to the delegation of creative responsibility to machines? What types of relationships are possible between human and computational creativity? And, in what ways do historical and socio-cultural aspects of music inform the development of Music AI applications and vice versa?

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DCJazzPrix is an annual international band competition that provides a unique professional and adjudication platform for emerging bands, outside of the traditional academic and commercial arenas. Unlike other performance-based contests, DCJazzPrix puts the emphasis on the essential interactions between band members and recognizes these relationships as the core pursuit of the jazz aesthetic.

As of February 16, 2021, applications are now open for DC Jazz Festival's seventh annual international band competition, DCJazzPrix. Young and emerging jazz bands from around the world are encouraged to apply for what aspires to be a premier global platform for jazz band's seeking new audiences and career navigation opportunities.All DCJazzPrix applicants will have their music heard by a prestigious jury consisting of jazz luminaries. Up to three finalist bands will be chosen to compete at the 2021 DC JazzFest before an enthusiastic crowd of international jazz fans. The winning band will begin a yearlong association with the DC Jazz Festival to include: a $15,000 grand prize, customized business development and career impact services, extensive publicity, a (paid) New York City engagement at Tribeca Performing Arts Center (TPAC) as part of TPAC’s annual Jazz In Progress Young Artist Series (2020/2021 season), and a highly visible 2022 DC JazzFest engagement with commensurate compensation.

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The 12th SAR Conference on Artistic Research of the Society for Artistic Research from April 7th-9th, 2021 is hosted by mdw – University of Music and Performing Arts Vienna in cooperation with the Academy of Fine Arts Vienna and the University of Applied Arts Vienna.
It is oriented on the three attractors "care", "dare" and "share" and is the first SAR conference to be organised as a live online event.

This intense collaborative effort by Vienna’s three arts universities and the Society for Artistic Research provides an opportunity to join current discourses and share both experiences and insights from artistic research in a focused and interactive way.

This year’s online format also reaches out in order to facilitate participation by individuals from new geographical regions and invites artistic researchers to share their work, processes, methods, discoveries, knowledge interventions, new insights, and understandings and to engage in exchange—in actions and words, and in ways complex and simple, conventional and unconventional, robust and fragile.

The keynote speakers will be Emma Cocker (Nottingham Trent University), Liza Lim (Sydney Conservatorium of Music), and Jyoti Mistry (University of Gothenburg).

All of the 44 presenters have been invited to question normativity, to involve the most varied formats of knowledge, and to take up positions concerning social and societal issues, responsibility to society, geographic diversity, the social situation of artists, possible conflicts between artistic freedom and research ethics, questions regarding access to artistic research, and much more.

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We seek to interrogate ‘global music history’ as both a field and methodology against the geopolitical realities of a ‘global musicology’. We invite papers that engage with the rich potential of ‘global music history’ within, adjacent to, and/or against ‘global musicology’.

We solicit proposals in the following areas, but the list is indicative rather than exhaustive. We particularly welcome perspectives from outside of the Euro-American West that presently dominates the music academy.

Label

The act and politics of labelling: What might ‘global music history’ and/or ‘global musicology’ mean to the re-/drawing of disciplinary boundaries? Are the labels uniting, separating, or even further fracturing music’s many splintered disciplines? Is ‘global music history’ a more sanitised version of ‘world music history’, which arguably has a more immediate colonial connection?
Musicology’s often-cited tendency to borrow new developments (including global history) from other disciplines: What might this tendency say about the discipline’s colonial history and/or its continued colonial practices?

Practice

How does musicology outside of the Euro-American centres maintain and/or resist Western discursive practices?
How might academic journals, the classroom, and/or individual scholars enable ‘global music history’ and/or a ‘global musicology’?
Given the problematic boundaries between ‘global music history’ (of musicology) and ‘world music history’ (of ethnomusicology), would ‘sound studies’ be better at facilitating inter-/disciplinary possibilities in research?
How might we reconceive entry requirements for music studies?

Case studies

Social, cultural, political, and/or historical studies that engage with the conference’s theme

The submission deadline is July 1st, 2021

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The International Society for Music Education (ISME) invites submissions for the 35th World Conference in Brisbane, Australia from July 17 to 22, 2022. The 2022 ISME World Conference aims to foster global understanding and co-operation among the world’s music educators. By strengthening ties and sharing ideas about diverse aspects and issues within music education, the 2020 ISME World Conference helps to promote music education worldwide for people of all ages.

The theme for the 2022 ISME World Conference is A Visible Voice. We recognise the legitimacy of each community’s music practice as a valid strategy for their socialisation and development. It is crucial that each music tradition finds space within the activities espoused by ISME. For teacher and researcher alike, there is need for respect and recognition of one’s opinion, position and perception, no matter their station, because every experience is valid and has something to contribute to ISME’s global agenda of enhancing human lives through quality music education. The 35th World Conference provides a platform where, globally and at personal levels, what we do makes a difference as we provide the diversity that our membership represents.

The conference will help us to ‘see’ the different voices that ‘music’ presents by empowering music educators towards the creation of a more just, more socially embracing and more economically supportive society.

Proposals for papers, posters, symposia, and workshops are invited from participants world wide. ISME encourages submissions that align with the conference theme A Visible Voice from researchers and practitioners at all career stages including graduate students and early career professionals.

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VIS – Nordic Journal for Artistic Research is a biannual artistic research journal published by Stockholm University of the Arts and Norwegian Artistic Research Programme, Diku. VIS is now looking to receive submissions to its seventh issue, edited by Anna Lindal, with the theme “Metamorphoses – Tales of the Ever-changing”.

In the VIS #7 call we propose the theme Metamorphosis. The idea of transformation and metamorphosis underpins almost all human creation and expression and has been present in the arts since Ovid’s time.

But is the trope of metamorphosis still relevant or has it become obsolete in a post-internet era where time, information and art are seamlessly intertwined and where transformation is increasingly present in the everyday life? Alternatively, are contemporary artistic practices particularly well-suited to deal with this ever-present dynamism? VIS #7 wants to construct a volume that will embody the ways in which the modes of disseminating artistic research are themselves subject to flux and metamorphosis.

Submissions are received through the Research Catalogue. The deadline is June 1st, 2021. Read the full description of the open call and all the details about the submission process on the VIS journal website.

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Jazz and Culture is an annual publication devoted to publishing cutting-edge research on jazz from multiple perspectives. Founded on the principle that both scholars and musicians offer invaluable contributions, the journal juxtaposes groundbreaking work by researchers alongside oral histories and articles written by master artists in the field. All methodological approaches are welcome, including ethnomusicology, music theory, and critical and cultural studies. The journal particularly encourages work relating to jazz’s international scope.

This year’s issue is dedicated to piano legend Geri Allen. The table of contents for this issue includes a preface by Terri Lynne Carrington, a message from the Allen family surrounding community in music, Mrs. Allen’s master’s thesis, and a series of articles analyzing Geri’s compositions and play style.

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Engaging with debates on writing, interdisciplinarity and the knowledge economy encountered across Europe in arts educations and within the artistic community Michael Schwab, editor-in-chief for The Journal for Artistic Research, asks Why have we not been talking more about ‘artistic research’ in relation to MAs?

Plus five expositions:

31 Days Old - Performance, Family and Ethics by Sarah Black and Andy Frizell
Exploring and Prototyping the Aesthetics of Felt Time by Elsa Kosmack Vaara and Cheryl Akner Koler
Impulsive Incantations - Voicing Migraine by Mariske Broeckmeyer
Methods of Indirection: a trialogue between Patrizia Bach, Howard Eliand, and Luis Berríos-Negrón about Walter Benajmin and translating The Arcades Project by Luis Berríos-Negrón, Patrizia Bach, Howard Eiland

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In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers—trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill—is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society.

Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins’s performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.

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IICSI and special issue editors Daniel Fischlin, Laura Risk, and Jesse Stewart are pleased to announce the launch of Vol. 14, No. 1 of Critical Studies in Improvisation / Études critiques en improvisation: “Volume I: Improvisation, Musical Communities, and the COVID-19 Pandemic.” Published on the anniversary of the declaration of a global pandemic and the subsequent shutdown, this issue provides a comprehensive reflection on the year that’s passed, providing first-hand accounts from members of diverse arts communities including musicians, performers, scholars, arts presenters, and other cultural workers. As the editors express, “the voices gathered here evoke scarcity and abundance, precarity and resilience, creative wells overflowing and running dry, power and helplessness, adaptation and exhaustion.”

The volume offers a reflection on the extraordinary challenges caused by the pandemic, as well as aspirations for a more equitable artistic landscape. In addition to many community voicings, this issue also contains three peer-reviewed articles:

Erin Felepchuk and Ben Finley: “Playing the Changes: Improvisation, Metaphor, and COVID-19”
Eric Lewis: "Black Time in the Age of COVID: Improvising Afrologically in both Telematic Performance and Public Health Policy"
Laura Risk: “Imperfections and Intimacies: Trebling Effects and the Improvisational Aesthetics of Pandemic-Era Livestreaming”

This issue is available to read online. Volume II, a special double issue, will be published in the spring.

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The fifth issue of VIS – Nordic Journal for Artistic Research was released on 15 March, 2021, on the journal website and on the Research Catalogue. The theme is “One more time, let’s do it again!”, with expositions working with the artistic potential of repetition, returning to work from another time or revisiting previously explored ideas.

“Issue 5 questions what artistic practices engaging with repetitions and reiterations may lead to in artistic research”, writes editor of the issue Trond Lossius in his introduction. “The seven expositions in this issue offer multiple and rich perspectives on how ‘doing it again’ can contribute to artistic practice, expression and meaning-production.”

From sound journaling and performing with trees to the reproductive labour of dusting carpets, the expositions in this issue range over a wide field of different areas. How are stories we tell of architecture changed by being rehearsed over and over? What can be revealed about the relationship between man and nature by re-drawing classic nature documentaries? How have group composition practices been transformed by having to work in Zoom meetings?

The expositions published in this issue are:

Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening by Jacek Smolicki
Reiterate, rerun, repeat by Michael Duch & Jeremy Welsh
Beyond the Saturation Point by Annette Arlander
Naturfilm by Elisa Rossholm & Anna Sofia Rossholm
Piskan ställningen by Livia Prawitz
Haunted houses by Emelie Carlén

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