🎶 March News from the JEN Research Interest Group

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.

Article submissions for Jazz Education in Research and Practice Volume 4 are open now until May 1 - info and submission guidelines here. Feel free to contact me if you have questions about how and what to submit. There are options from book reviews, to essays on a teaching/ theory/ history topic, to full-blown research articles. Publishing in a peer-reviewed journal provides credits for promotion, job searches, and of course contributes to the knowledge base in the field. Volume 3 is now available, the Table of Contents is below and of course Volume 1 and 2 also include a wealth of articles. Please consider including some of them in your courses this semester and access or order copies through your libraries. As a JEN member, you can claim a discounted yearly subscription for $15 if you order directly from IU Press here and follow the subscription links. And of course, as a full JEN member you have access to reading all editions on the JEN website for free.

The monthly series of webinars will continue on April 1(invitation and signup info below) and 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. They’ll be live streamed on Facebook, but those who register for the zoom webinar will be able to ask questions and interact with the panelists. All previous presentations can be accessed here.

Here is the upcoming schedule, all webinars are at 3pm EST:

April 1 (no joke) • Martin Norgaard “Patterns in Music: How Linguistic Corpus Analysis Tools Can Be Used to Illuminate Central Aspects of Jazz Improvisation”
May 6 • Jeffrey Benatar “A Method for teaching interaction in small jazz ensembles
June 3 • Paul Roth “Teaching Jazz, Teaching Justice, blackness of Don Cherry's global communion”

Conference submissions for the 2023 JEN conference will open April 1 - consider applying for a research presentation, clinic, or performance, you have to be a JEN member to apply. 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.

🎶 FREE WEBINAR 🎶

Patterns in Music: How Linguistic Corpus Analysis Tools Can Be Used to Illuminate Central Aspects of Jazz Improvisation
with Dr. Martin Norgaard

Friday, April 1 • 3pm ET

Zoom (Members) & Facebook Live (Non-members)

Join Associate Professor of Music Education at Georgia State University, Dr. Martin Norgaard, a researcher who studies neuroscience, mathematics, computer science, occupational therapy, and physics to investigate the cognitive processes underlying improvisation and related therapeutic applications.

During the interactive Zoom workshop, you will use a free program designed for language analysis to find patterns in jazz solos. Then we will listen to the original recordings of those patterns using another publicly available web interface. Finally, applications in jazz theory and improvisation classes are discussed.

Plus a Q & A with the live Zoom audience.

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

Have a question you don't see covered above? Once registered, you will be invited to submit any questions you would like answered.

PLEASE NOTE:

JEN Members will receive a link 1-hr before the event to join the Zoom Room.

Non-members & youth (under 18) members will receive a link 1-hr before the event to join via Facebook Live. Click here for membership information.

🎶 FREE WEBINAR 🎶

How to Apply to Perform or Present at the 2023 JEN Conference

Friday, April 1 • 12pm ET

Zoom (Members) & Facebook Live (Non-members)

Attend this special online event to learn more about the application process for the 2023 Jazz Education Network Conference in Orlando, FL.

For more information, follow these links: Application Info • General Conference Info

Have a question you don't see covered above? Once registered, you will be invited to submit any questions you would like answered.

PLEASE NOTE:

JEN Members will receive a link 1-hr before the event to join the Zoom Room.

Non-members & youth (under 18) members will receive a link 1-hr before the event to join via Facebook Live. Click here for membership information.

A disco ball threw beads of light across a crowded dance floor on a recent Monday night in Lower Manhattan while old film footage rolled across a wall by the stage. A half-dozen musicians were up there, churning waves of rhythm that reshaped over time: A transition might start with a double-tap of chords, reggae-style, from the keyboardist Ray Angry, or with a new vocal line, improvised and looped by the singer Kamilah.

A classically trained pianist who’s logged time with D’Angelo and the Roots, Angry doesn’t “call tunes,” in the jazzman’s parlance. As usual, his group was cooking up grooves from scratch, treating the audience as a participant. Together they filled the narrow, two-story club with rhythm and body heat till well past midnight.

Since before the coronavirus pandemic, Angry has led his Producer Mondays jam sessions every week (Covid restrictions permitting) at Nublu, an Alphabet City venue that feels more like a small European discothèque than a New York jazz club. With a diverse clientele and a varied slate of shows, Nublu’s management keeps one foot in the jazz world while booking electronic music and rock, too. On Mondays, it all comes together.
As New York nightlife has bubbled back up over the past few months, it’s been a major comfort to return to the legacy jazz rooms, like the Village Vanguard or the Blue Note, most of which survived the pandemic. But the real blood-pumping moments — the shows where you can sense that other musicians are in the room listening for new tricks, and it feels like the script is still being written onstage — have been happening most often in venues that don’t look like typical jazz clubs. They’re spaces where jazz bleeds outward, and converses with a less regimented audience.

Jazz Education in Research and Practice explores diverse topics of jazz scholarship and its applications to pedagogy. The journal provides a forum for interaction and exchange between researchers and practitioners grounded in scholarship. It was developed by and is an extension of the Jazz Education Network Research Interest Group (JENRing) founded in 2014 under the umbrella of the Jazz Education Network (JEN). The journal aims to be inclusive of a wide range of perspectives, from musicology to cultural studies, from psychology to business, that can be applied in the field. In this respect, the editors particularly welcome articles that provide models, resources, and effective techniques for the teaching and learning of the art form.

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 IV is May 1, 2022 at this link:
https://scholarworks.iu.edu/iupjournals/index.php/jazz/information/authors

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.
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.

For questions contact: Monika Herzig mherzig@indiana.edu

Thursday, May 12, 2022
11:00 Registration Opens
12:00 – 1:20 Ryan Truesdell - Bob Brookmeyer: Small, Medium, Big (Band)
1:30 – 2:20 Adam Neely - Social Media as a Musical Medium
1:30 – 1:55 Ayn Inserto - New Music Presentation
2:00 – 2:25 John Mills - New Music Presentation
2:30 – 3:20 Peter Erskine / Marcus Ratka / Jeff Levenson - Distance Teaching: A Production Overview
3:30 – 4:20 Omar Thomas All of Me - Bringing the Jazz Language to the Wind Ensemble Medium
3:30 – 3:55 Ed Puddick - New Music Presentation
4:00 – 4:25 Remy LeBoeuf - New Music Presentation
4:30 – 5:50 ISJAC Welcome & Artist Talk – Jim McNeely
6:00 - 7:30 Welcome Reception

Friday, May 13, 2022
9:00 – 9:50 Artist Talk - Miho Hazama
10:00 – 10:50 Meg Okura - Getting More Out of Your String Players
10:00 – 10:50 Gail Boyd - Business and Legal Issues Confronting Jazz Composers
11:00 – 11:25 Mats Holmquist - New Music Presentation
11:00 – 11:25 Miggy Miyajima - New Music Presentation
11:30 – 12:20 Artist Talk – Miguel Zenon
1:30 – 2:45 New Music Workshops
Kate Williams, Andrew Wiele, Gary (Kaiji) Wang, Ross Strauser, Ben Morris
Tom Larsen, Annie Booth, Greg Simon, Eri Chichibu, Zach Bornheimer,
Yotam Ishay, Seulah Noh, Zach Rich, Meg Okura, Rin Seo, Jose Bevia, Simon Lasky

Clinicians:
Jim McNeely, Ayn Inserto
Terri Lyne Carrington, Miguel Zenon
John Clayton, Miho Hazama

3:00 – 3:50 Artist Talk – Terri Lyne Carrington
4:00 – 6:00 Poster Session / Reception

THIRD, the 3rd cycle artistic research program of DAS Graduate School in the Academy of Theatre and Dance, Amsterdam, is selecting six artistic researchers to form a new cohort of peers for 2022-2024. THIRD is looking for transdisciplinary theatre, choreography and performance artists interested in exploring research opportunities over a two-year program.

The aim of THIRD is to prepare, coach and facilitate individual artists in articulating a long-term research project for enrollment in a PhD, 3rd Cycle or Research Fellowship program. Starting September 2022, participants from different backgrounds will be offered the opportunity to explore research together in intensive seminars, experience a peer-to-peer culture, a collaborative ecology of practices, perspectives and approaches to artistic research at the PhD level from within their cohort. Researchers can access knowledge about heterogeneous formats and institutions awarding artistic research doctorates, provided tailored mentoring and access to professional networks.

Idensitat + Consorci de Museus de la Comunitat Valenciana

Deadline: April 4, 2022

IDENSITAT, together with the Consorci de Museus de la Comunitat Valenciana opens the third edition of the Transversal Aesthetics programme, which, under the title IMMUNITY – COMMUNITY, will promote three projects that combine research and production in the cities of València, Alicante and Castelló, connecting artistic practices to social spaces within specific contexts of each of the three cities, which include two temporary residencies subject to a public open call, and a third by invitation. The programme will take place during 2022 and 2023, and is part of the European project Who Cares?

- Onsite residency: The call is aimed at artists interested in developing an artistic production - experimentation project on the specific theme proposed. The residency will take place between October and November 2022 at Centro Cultural Las Cigarreras in Alicante.

- Hybrid residency: Artistic mediation residency, based upon the proposed theme. The projects can take place until March 2023, combining onsite and online phases, and distributing the onsite work according to the needs of the project and its members. The open call demands a project that straddles mediation and research, creating a dialogue between the concepts of "Community – Immunity" from a contemporary point of view, through relational and thought-based methodologies. For the onsite phases, the Centre del Carme Cultura Contemporània in Valencia will provide spaces.

Projects will be selected by a jury comprising José Luis Pérez Pont, managing director of the Consorci de Museus de la Comunitat Valenciana, Nerea de Diego, Co-director of Centro de Arte Contemporáneo Huarte, Carolina Fuertes Mascarell, coordinator of the Centre Cultural Las Cigarreras in Alicante, Clàudia Segura, curator at MACBA, Ramon Parramon and Roser Colomar, members of the Idensitat team.

online seminar, 24-25 May 2022

With this seminar, the Orpheus Institute’s research group MetamusicX wants to initiate research on NFTs in relation to musical practices in general, and to artistic research in particular. The seminar aims at mapping the field, exploring the potential of blockchain for music creation, and launching the basis for a blockchain network at the service of artistic research.

For the art world, 2021 was the year of Non-Fungible Tokens (NFTs). Leading museums, top art galleries, and a growing number of visual artists and musicians fully embraced NFTs as a new digital mode of exposing, producing, and distributing art. NFTs are embedded in blockchains, decentralised networks of information exchange, on which different kinds of data can be stored without a centralised controlling entity. Although commonly associated with cryptocurrencies and financial ledgers of transactions, blockchain technology also supports other types of data, such as image, audio and video files, whereas its unprecedented decentralisation provides a better protection of information and value in times of post-truth, fake news, and information bubbles. For the arts, blockchain technology may bring radical changes not only to the way in which artworks are produced, communicated, disseminated, and transacted, but to the way in which artistic processes unfold and artworks are created.

Despite its vertiginous expansion, the blockchain revolution is still happening under the radar of many individuals and institutions. With this seminar, the Orpheus Institute’s research group MetamusicX wants to initiate research on NFTs in relation to musical practices and artistic research in music. The seminar aims at mapping the field, exploring the potential of blockchain for music creation, and launching the basis for a blockchain network at the service of artistic research.

The seminar will ask:
Is art moving from museums and concert halls into the blockchain?
What are the non-financial advantages of using blockchain in arts and research?
How is blockchain a new mode of artistic inscription?
What is the impact of NFT in the creative practice of artists and musicians?
How can Artistic Research relate to blockchain and NFT?

13th International Jazz Research Conference, Graz (Austria), 9-12 June, 2022

Hosted by the Institute for Jazz Research and the International Society for Jazz Research at the University of Music and Performing Arts Graz

Confirmed Keynote Speakers

Nichole T. Rustin (Rhode Island School of Design)
Walter van de Leur (University of Amsterdam / Conservatorium van Amsterdam)

Due to the extremely alarming developments including the Austrian lockdown in the Covid-19 pandemic in November 2021 we had to postpone our 13th International Jazz Research Conference to 9–12 June 2022. This year, the conference will take place as originally planned in person with all already accepted proposals. In addition, we reopen our call to invite new proposals,

Deadline April 4, 2022

MUSICultures is the scholarly journal of The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales. It is a refereed journal that is published annually under the auspices of the Society.

MUSICultures publishes original articles in English and French on a wide range of topics in ethnomusicology, traditional music research, and popular music studies. The Journal welcomes articles on music in Canadian contexts as well as music in global and transnational contexts. The Journal also publishes reviews of books, and sound and visual recordings. Please contact the Editor about submitting reviews.

I am very pleased to announce the publication of the most recent issue of MUSICultures (48), which features two special issues: “Queer Musicking,” guest edited by Craig Jennex and Charity Marsh, and “Stories of Emergence, Opportunity, and Challenge in Canada’s University Music Programs,” guest edited by Nathan Hesselink and me, as well as articles on open topics.
This issue is available to current members of the Canadian Society for Traditional Music here. (non-members can freely access issues more than 3 years old). For membership/subscription information, please visit the website of the Canadian Society for Traditional Music. Or check your library for access.

Tish Oney merges the worlds of jazz and classical singing in a comprehensive guide for those teaching and singing jazz. Legendary jazz singers’ performance strategies are discussed providing unique insights.

Jazz Singing combines jazz stylization and improvisational techniques with classic voice pedagogy to outline a method that builds the jazz voice upon a strong foundation of proper alignment, efficient breathing, healthy phonation, a clear understanding of vocal anatomy, and the physics of singing. Various strategies to enhance improvisation and artistry are presented, and mindful coordination of all aspects is emphasized to create authentic, healthy jazz singing in this groundbreaking book.

Celebrating his 86th birthday in January 2022, this book release is the collected wisdom of one of Chicago’s Blues and Boogie Woogie icon, Erwin Helfer. He shares insights and information accumulated over 60 years of teaching and performing in nine progressive chapters, aimed for the pianist with intermediate technique and a willingness to take the plunge into blues and boogie improvisation. In his introduction, he mentions:

“It is my hope that this method can enrich at least a few lives. If a student only completes Chapter 3, he or she will be able to play a simple blues. If one feels bogged down by the idea of improvisation and just wants to study the blues form, this book will suffice. So, use this method any way that suits you.”

The information and guided exercises, deeply rooted in performance tradition are a treasure trove for the aspiring pianist. Melodic, harmonic, and rhythmic concepts for approaching the Blues form in many creative variations are presented in concise examples and practice suggestions. But most of all, Erwin shares his own blues licks and those of his peers freely, sharing the Chicago blues traditions directly from the practitioners and legacy artists. Words of wisdom from the Master, highly recommended.