Jessica Bissett Perea
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.003.0011
- Subject:
- Music, History, American
Since their emergence in the Pacific Northwest nearly four decades ago, vocal jazz ensembles have flourished, creating a regional focal point of innovative performance and pedagogical practice at ...
More
Since their emergence in the Pacific Northwest nearly four decades ago, vocal jazz ensembles have flourished, creating a regional focal point of innovative performance and pedagogical practice at both the secondary and collegiate levels. The quality of this vocal jazz community is widely recognized, but attempts to identify with both the Western choral tradition and mainstream instrumental jazz place these ensembles at odds with each parent tradition. This chapter traces the development of Pacific Northwest vocal jazz ensembles—such as those led by Hal Malcolm and John Moawad—and examines aesthetic dissonances underpinning vocal jazz's orphan-like status, including deeply entrenched musical, cultural, and gender biases within educational institutions and conventional jazz narratives.Less
Since their emergence in the Pacific Northwest nearly four decades ago, vocal jazz ensembles have flourished, creating a regional focal point of innovative performance and pedagogical practice at both the secondary and collegiate levels. The quality of this vocal jazz community is widely recognized, but attempts to identify with both the Western choral tradition and mainstream instrumental jazz place these ensembles at odds with each parent tradition. This chapter traces the development of Pacific Northwest vocal jazz ensembles—such as those led by Hal Malcolm and John Moawad—and examines aesthetic dissonances underpinning vocal jazz's orphan-like status, including deeply entrenched musical, cultural, and gender biases within educational institutions and conventional jazz narratives.
David Ake
Charles Hiroshi Garrett and Daniel Goldmark (eds)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.001.0001
- Subject:
- Music, History, American
Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in ...
More
Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in conventional jazz narratives. The book's goal is neither to map out a supposedly all-inclusive history of jazz, nor necessarily to salvage the reputations of typically dismissed styles or figures, but rather to explore what these missing people and pieces tell us about the ways in which jazz has been defined and its history told. That is, in focusing their inquiries beyond the veritable hall of jazz greatness, the authors seek to determine what we can learn about jazz as a whole by interrogating its traditionally understood musical and cultural margins (though not necessarily the economic margins: many of the performers and performances discussed in these essays have been enjoyed by millions of listeners), and to find out what is gained—and what is lost—when particular communities erect their own fences around jazz.Less
Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in conventional jazz narratives. The book's goal is neither to map out a supposedly all-inclusive history of jazz, nor necessarily to salvage the reputations of typically dismissed styles or figures, but rather to explore what these missing people and pieces tell us about the ways in which jazz has been defined and its history told. That is, in focusing their inquiries beyond the veritable hall of jazz greatness, the authors seek to determine what we can learn about jazz as a whole by interrogating its traditionally understood musical and cultural margins (though not necessarily the economic margins: many of the performers and performances discussed in these essays have been enjoyed by millions of listeners), and to find out what is gained—and what is lost—when particular communities erect their own fences around jazz.
