As jazz continues to migrate across national, ethnic, and cultural borders, jazz festivals function as physical and symbolic spaces where the dynamics between the vernacular and the cosmopolitan are put into play. In this talk, Dr. Anne C. Dvinge of the University of Copenhagen takes a closer look at jazz festivals, and specifically the Copenhagen Jazz Festival, as manifestations of this double sense of the cosmopolitan and the vernacular, where jazz enters into dialogue with local music cultures.
In this segment, Dr. Knauer responds to questions from the audience after his lecture on Europe's reception and embrace of jazz. He speaks at length about the crucial differences between the infrastructure of support for jazz in Europe and the United States, in terms of government subsidies versus untrammeled market forces, and the changing balance of these forces in Europe. Dr. Knauer also discusses the differences in European and American audiences, and in the very understanding of the word "jazz."
Dr. Wolfram Knauer, Director of Jazzinstitut Darmstadt, reflects on the fact that to play jazz, one must embody a double consciousness: paying respect to the blues and soul of African-American jazz, while finding your own blues and soul. Taking European trumpeters Harry Beckett, Tomasz Stanko and Enrico Rava as examples, Knauer explores the relationship between blues and soul, while responding to an anonymous e-mail query he once received: "Can a German understand what jazz is?" Dr.
From Princeton University Press:
"Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazzanswers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz.
This comprehensive study, the first to be written by an African American, is a precursor to the fields of cultural studies and critical race theory. William J. Harris discusses the implications of this sociocultural history of African American music and its unique place in American music history and culture. The talk marks the 50th anniversary of Amiri Baraka’s classic, which was published in New York City On September 25, 1963 with a first impression of 5000 copies and never went out of print.
After Professor Carol Rovane's introduction to the panelists and theme of the conversation, the keynote speaker, philosopher Arnold Davidson, presents his views on improvisation and ethics. Davidson's interest lies not only in how ethics bears on improvisation, but what improvisation can tell us about ethics. He makes reference to the ancient tradition of self-realization through rational inquiry, or "care of the self," to explore the relation between self and other in the process of collective improvisation.
Arnold Davidson continues his discussion of the ethical implications of improvisation, illustrating his points with audio and video excerpts. The first of these is a duo performance by George E. Lewis and Evan Parker; the second is the Duke Ellington Trio.
Gwen Ansell discusses the strategies that South African musicians and radio stations used to overcome the apartheid regime's efforts at cultural cleansing by introducing black audiences to jazz, and thus making jazz "the quintessential music of struggle" in that country. Click here for Part II.
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.