Travis A. Jackson
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520270442
- eISBN:
- 9780520951921
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520270442.003.0004
- Subject:
- Music, History, American
This chapter examines the contours of the New York jazz scene in the 1990s. Building on the previous discussions of history, memory, race, culture, and practices, on one hand, and spatiality, on the ...
More
This chapter examines the contours of the New York jazz scene in the 1990s. Building on the previous discussions of history, memory, race, culture, and practices, on one hand, and spatiality, on the other, it offers as a corrective a focus not only on the people moving through and populating the scene, but also on the spaces and institutions they manipulate (and that manipulate them) in the process of making jazz. Central here are the relationships between all involved as the scene changes and develops, even in the course of one decade. The chapter sketches the major elements of the jazz scene in and since the 1990s, and considers the interaction of those differing elements to show how, together, they have as much impact on the making of jazz as ready-made notions of musical or historical progress.Less
This chapter examines the contours of the New York jazz scene in the 1990s. Building on the previous discussions of history, memory, race, culture, and practices, on one hand, and spatiality, on the other, it offers as a corrective a focus not only on the people moving through and populating the scene, but also on the spaces and institutions they manipulate (and that manipulate them) in the process of making jazz. Central here are the relationships between all involved as the scene changes and develops, even in the course of one decade. The chapter sketches the major elements of the jazz scene in and since the 1990s, and considers the interaction of those differing elements to show how, together, they have as much impact on the making of jazz as ready-made notions of musical or historical progress.
ANTHONY E. KEMP
- Published in print:
- 1996
- Published Online:
- March 2012
- ISBN:
- 9780198523628
- eISBN:
- 9780191688973
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198523628.003.0007
- Subject:
- Psychology, Music Psychology
This chapter focuses on Bem's theory of psychological androgyny, which offers a way of perceiving gender roles that departs from the dichotomous nature of masculinity–femininity scales and suggests ...
More
This chapter focuses on Bem's theory of psychological androgyny, which offers a way of perceiving gender roles that departs from the dichotomous nature of masculinity–femininity scales and suggests that gender roles take the form of a fourfold typology. This is explored in detail in this chapter. The author points out and argues that musicians' androgyny takes the form of two independent and contrary dispositions. The first concerns a cluster of traits that involves predisposition of a person to respond to musical experiences with sensitivity, feelingfulness, insight, and intuition (commonly asscociated with femininity). The second cluster relates to introversion and independence, autonomy, and the motivation necessary for musical progress to be made (masculine-related traits). Both are requirements for satisfactory levels of progress in music throughout education, and later on in the profession.Less
This chapter focuses on Bem's theory of psychological androgyny, which offers a way of perceiving gender roles that departs from the dichotomous nature of masculinity–femininity scales and suggests that gender roles take the form of a fourfold typology. This is explored in detail in this chapter. The author points out and argues that musicians' androgyny takes the form of two independent and contrary dispositions. The first concerns a cluster of traits that involves predisposition of a person to respond to musical experiences with sensitivity, feelingfulness, insight, and intuition (commonly asscociated with femininity). The second cluster relates to introversion and independence, autonomy, and the motivation necessary for musical progress to be made (masculine-related traits). Both are requirements for satisfactory levels of progress in music throughout education, and later on in the profession.
