BRAZILIAN MUSIC HISTORY, RHYTHM, AND REPERTOIRE FOR THE JAZZ PRACTITIONER
Anthropology and Sociology
An examination of the new jazz that emerged shortly after the middle of the 20th century. Discussion will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Bley, Albert Ayler, and the Art Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; the accomplishments of the music and the problems it raised for jazz performance and criticism.
Washburne asks why Latin jazz has been overlooked in histories of jazz and lists of canonical works, explores what it has to teach us about jazz on the whole, and provides an invaluable survey of this influential music and its culture. He argues that the persistent and varied influence of Latin jazz is inconvenient for standard unilinear accounts of jazz' history, but that it ought to be included in the name of diversity and the central role that principle plays in the creation and renewal of jazz.
In "'Come on in North Side, you're just in time': Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space," Scruggs explores the ways that tenor saxophonist Von Freeman used both music and speech to create a sense of community and shared tradition through his performances at Chicago's Enterprise Lounge during the 1970s and 1980s.
Miller argues that Caribbean music is central to the emergence and development of jazz. The Caribbean islands were a crucial transfer point to the mainland United States for African rhythms and musical forms from the beginning of the slave trade until the present. Caribbean music was especially important in the development of jazz in New Orleans, America's Caribbean city.
Smith explores the act of naming jazz compositions. He takes Thelonious Monk's "Let's Call This," which is elliptical and open to multiple meanings, as a starting point. Smith believes the song title is an example of African-American transgressiveness, through the creation of an aloof, sometimes deliberately ironic aesthetic. The author explores the music, and the titles, of Dizzy Gillespie, Charlie Parker, and Anthony Braxton in this regard. He also bases his argument on the poetry of Nathaniel Mackey, who "sees language as history.
In this special issue (Nos. 71-72, Spring 2001-Spring 2002), Current Musicology drew together some of the most prominent scholars in the nascent field of jazz studies to deal with important and provocative questions the subject has raised. The volume was dedicated to Columbia professor Mark Tucker, whose untimely death on December 6, 2000 robbed the field of one of its leading lights. This JSO special feature presents selected articles from the issue. © Used by permission of Current Musicology and the authors of specific excerpts.
This resource presents two chapters from Barry Ulanov's Duke Ellington, the first full biography of the great composer and orchestra leader. They deal with two of the composer's most important extended works: the musical "Jump for Joy" and the concert suite "Black, Brown, and Beige."
Brazilian Popular Music History and Performance Practice
Professor Cliff Korman
Appleby, David P. The Music of Brazil (Austin, TX: University of Texas Press,1983)
Cancado, Tania Mara Lopes. An Investigation of West African and Haitian Rhythms on the Development of Syncopation in Cuban Habanera, Brazilian Tango/Choro, and American Ragtime, 1791-1900 (unpublished doctoral thesis, Shenandoah University, 1999)