Author: Geoffrey C. Ward
Release Date: 2001
Ken Burns and geoffrey Ward bring us the history of the first American music, from its beginnings in Ragtime, Blues and Gospel, through to the present day. JAZZ has been a prism through which so much of American History can be seen - a curious and unusually objective witness to the 20th Century.
Author: Gary Giddins
Publisher: W W Norton & Company Incorporated
Release Date: 2009
A respected critic presents an intellectual history of jazz that explains the origins of the genre within a context of America culture, covering everything from the styles that informed jazz and the heated protests of the avant-garde to its most influential contributors and the radical diversity of today's artists.
Author: Jeff Farley (Ph. D.)
Release Date: 2008
The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as AmericaÂ's music, as it earned this status from its worldwide popularity and its identity as an innovative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as Â'democraticÂ' music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a Â'national treasureÂ' that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPAÂ's definitions of jazz and its history that have dictated this support. While the JPA has essentially continued the practice of shaping jazz through ideas of its place within American culture and society, it has provided immense resources to promote a fixed history and canon for jazz. Specifically, the JPA has promoted jazz as the American music, taking a particular stance on the histories of race and discrimination in the industry and the definitions of authentic jazz that had been sources of disagreement, competition, and creativity since the release of the first jazz record in 1917.
Author: Christopher Wilkinson
Publisher: Univ of California Press
Release Date: 2001
In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era."
Author: Daniel Hardie
Release Date: 2004
An exploration of the roots from which New Orleans jazz sprang at the end of the nineteenth century. Beginning with the earliest music to appear in the American Colonies traces the growth of musical families that played a part in the development of American folk and popular music before and after the Civil War. Author lives in Sydney.
Author: Peter Townsend
Publisher: Univ. Press of Mississippi
Release Date: 2000
The family of musical styles known as jazz came into being around 1900 as several popular black musical idioms coalesced. This free-flowing, spontaneous music based in improvisation emerged primarily from ragtime and the blues. But jazz did not remain solely in the domain of American music, for very quickly it swept through virtually all of the national culture as fiction, poetry, film, photography, painting, and classical music came under its spell. If it's art that expresses a nation's essence best, then jazz set America's tempo and afforded an artistic pattern for modernism. In this book for the nonspecialist Peter Townsend shows how during an entire century jazz has appeared in a wide diversity of times and places and in many different cultural settings. He reveals how jazz surfaced early in America's movies (The Jazz Singer, Strike Up the Band, Orchestra Wives, Blues in the Night) and how it became an aesthetic model serious composers (George Gershwin, Aaron Copland) did not miss. Jazz has punctuated literary fiction (Ralph Ellison, Eudora Welty, James Baldwin, John Clellon Holmes, Jack Kerouac, Toni Morrison) and American poetry (William Carlos Williams, Carl Sandburg, Langston Hughes, Percy Johnson). Jazz influenced painting (Jackson Pollock, Romare Bearden, Stuart Davis, Archibald Motley, and Jimmy Ernst), and several photographers have devoted their careers to documenting jazz performers and their music scene (William Claxton, William Gottlieb, Roy De Carava, Carol Reiff). Townsend probes the deep-rooted mythology that holds jazz as indefinable, unteachable, and instinctive with blacks but tough for whites and that its birthplace was New Orleans brothels, that its musicians live tragic lives, and that jazz is dominated by males and despises whiffs of the mainstream. As modernism swayed to the tempos of jazz and adapted to its modes, the once clearly defined lines of demarcation faded and jazz became well established as one of the great musical cultures of the world. Peter Townsend is a senior lecturer in the School of Music and Humanities at the University of Huddersfield in England. Copublished with Edinburgh University Press For sale in the U.S.A., Canada, and U.S. dependencies only
Author: Kathy J. Ogren
Publisher: Oxford University Press
Release Date: 1992-06-04
Genre: Social Science
Born of African rhythms, the spiritual "call and response," and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the "Lost Generation" (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it "devil's music" and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, "Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it." Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture.