The Routledge Companion to Diasporic Jazz Studies

1. Auflage 2024
ISBN: 978-1-032-08038-3
Verlag: Taylor & Francis

Buch, Englisch, 518 Seiten, Format (B × H): 182 mm x 259 mm, Gewicht: 1084 g

Reihe: Routledge Music Companions

The Routledge Companion to Diasporic Jazz Studies recognizes the proliferation of jazz as global music in the 21st century. It illustrates the multi-vocality of contemporary jazz studies, combining local narratives, global histories, and cultural criticism. It rests on the argument that diasporic jazz is not a passive, second-hand reflection of music originating in the US, but possesses its own integrity, vitality, and distinctive range of identities. This companion reveals the contradictions of cultural globalization from which diasporic jazz cultures emerge, through 45 chapters within seven thematic parts:

- What is Diasporic Jazz?

- Histories and Counter-Narratives

- Making, Disseminating, and Consuming Diasporic Jazz

- Culture, Politics, and Ideology

- Communities and Distinctions

- Presenting and Representing Diasporic Jazz

- Challenges and New Directions

The Routledge Companion to Diasporic Jazz Studies traces how cultural dynamics related to "race", coloniality, gender, and politics traverse and shape jazz. Employing a cross section of approaches to the study of diasporic jazz as eloquently showcased by the entries, this book seeks to challenge the dominant jazz narratives through championing a more all-encompassing, multi-paradigmatic alternative. Bringing together contributions from authors all over the world, this volume is a vital resource for scholars of jazz, as well as professionals in the music industries and those interested in learning about the cultural and historical origins of jazz.

Zielgruppe

Postgraduate

Autoren/Hrsg.

Havas, Ádám

Johnson, Bruce

Horn, David

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikgattungen Weltmusik
• Geisteswissenschaften Musikwissenschaft Musikgattungen Jazz

Inhaltsverzeichnis

Preface

Part 1: What is Diasporic Jazz?

1. Tony Whyton: Jazz as Diaspora Space

2. Christopher Ballantine: What is “Jazz”? Categories, Passages, Contradictions and Power

3. Jonathan Wipplinger: Ways of Conceptualising the Global Jazz Diaspora

4. Philipp Schmickl: Rethinking Diaspora in Diasporic Jazz

5. Carol Muller: Diaspora in South African Jazz History and Contemporary Performance

6. Mikkel Vad: The Diaspora Swings Back: Expat Jazz Musicians in Europe and their Return Home to the United States

7. Ádám Havas: Identity Politics and Diasporic Jazz: Reflections from the European Semi-Periphery

Part 2: Histories and Counter-Narratives

8. Catherine Tackley: “Snakehips Swing:” The West Indian Contribution to British Dance Band Music

9. Federico Ochoa Escobar: Jazz Diaspora and the Colombian Caribbean: From the Jazz Band to the Big Band

10. Jason R. Borge: Booker T. Pittman and the Mid-Twentieth Century South American Jazz Diaspora

11. Martin Breternitz: Individuality in Collectivism – Jazz Clubs in the GDR as Nonconformist Diasporic Institutions

12. Aleisha Ward: “Real Dance Music in Your Town Soon!” The Importance of Jazz as Dance Music in Aotearoa New Zealand 1920s-1940s

13. John Whiteoak: Jazz Diaspora, Latin Musical Influences and Australia

Part 3: Making, Disseminating and Consuming Diasporic Jazz

14. Pekka Gronow: Music Industry and the Media

15. Mischa van Kan: Public Broadcasting Companies and Jazz Outside of the United States

16. Haftor Medbøe and José Dias: First Monday Revisited: Production

Über Autor(innen)

Ádám Havas is a Marie Sklodowska-Curie postdoctoral researcher at the University of Barcelona (2022-2024) and a member of The Center for the Study of Culture, Politics, and Society (CECUPS) in the University’s Sociology Department. From October 2024 he will be an international fellow at the Kulturwissenschaftliches Institut Essen (KWI).

Bruce Johnson currently holds honorary professorships in various departments, including Music, Cultural History, Communications and Media at the University of Glasgow and the University of Turku (Finland); and at the University of Technology Sydney and the University of New South Wales in Australia.

David Horn was the first Director of the Institute of Popular Music (IPM) at the University of Liverpool.