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¶ … Constructing the Jazz Tradition: Jazz Historiography," author Scott Devaux argues that "the accepted historical narrative for jazz" confers on the music a type of "pedigree," making it acceptable and palatable by the public (526). Academic acceptance of jazz portrays it as the classical music of America. Conferring a pedigree onto jazz also glorifies its specifically African and African-American roots, and therefore jazz has "an important political dimension," (526). Devaux contends that this academic historical narrative of jazz is unfair and overly simplistic in its scope, defining the genre, style, history, and social phenomena of jazz too narrowly. As evidence for his claim, the author shows that classifying jazz into a myriad of sub-genres that emerged in a chronological or geographic manner can be problematic especially since so many styles coexisted in the same place and time. Moreover, these styles often shared very little in common. Devaux urges music historians to create different and alternate historiographies of jazz.
Devaux proposes in part a revision of jazz historical narrative that presents the music not as a series of fragmented and isolated genres but rather as a "culmination of all that has come before," (530). When jazz is viewed in this manner, the historical narrative becomes organic rather than linear and compartmentalized. Devaux's article is valuable for the musical scholar not because it contains factual information about the history of jazz, information that as the author points out is plentiful, even ubiquitous. What Devaux hopes is not to illustrate new facets of the lives of jazz musicians but rather to present the entire portrait of jazz from unique and varying perspectives. Moreover, the author suggests that there may be no singular correct way to draft a historical narrative about jazz: jazz can be a springboard for discourse in a variety of subjects, from race relations to American history to musical theory.
Most importantly, jazz should not be oversimplified; historians risk losing sight of the complexity of the music, political, and social phenomena to which jazz has given rise. Jazz should be viewed in conjunction with, not in isolation from, the cultures in which it rose. Devaux's propositions can easily be extended to the creation of other historical narratives, any narratives that try to describe creative movements.
This is not really a typical swing rhythm, however. Jazz musicians almost always play eighth notes straighter than that, except perhaps in the style known as the shuffle. A correct ratio for swing cannot be given precisely. Different musicians tend to interpret swing in different ways. Earlier jazz musicians tended to play with a more exaggerated swing. Some styles of jazz - especially hybrids of jazz with other forms
It is likely that because of Jazz innovators, the fusion of musical styles has grown to the level it has. It is also likely that the desire of Jazz to encourage the rethinking of harmony and melody away from a simple chord progression to a haunting, rather primal emotional experience will have an influence on musicians for decades to come. Certainly, this has been seen in recent years with the
Fake books with jazz notation might look as if they are intended for amateurs. However, although beginners may use the simplified notation to practice music, the fake book's original intention was to provide a stepping-stone for a musician or an ensemble to create their own, unique rendering of the music. Thus jazz notation reflects the stress in this musical tradition upon the musician or the band's individual style. The
EDSE 600: History and Philosophy of Education / / 3.0 credits The class entitled, History and Philosophy of Education, focused on the origin of education and the "philosophical influences of modern educational theory and practice. Study of: philosophical developments in the Renaissance, Reformation, and revolutionary periods; social, cultural and ideological forces which have shaped educational policies in the United States; current debates on meeting the wide range of educational and social-emotional
45). There are also important racial issues that are examined throughout "A Touch of Evil"; these are accomplished through what Nerrico (1992) terms "visual representations of 'indeterminate' spaces, both physical and corporeal"; the "bordertown and the half-breed, la frontera y el mestizo: a space and a subject whose identities are not fractured but fracture itself, where hyphens, bridges, border stations, and schizophrenia are the rule rather than the exception" (Nericcio,
New Orleans as a Focal Point in the Development of Jazz New Orleans is known a melting pot of culture and music and it has played a major role in early development of jazz. It was full of opportunity and rich with the fine arts of music and dance, while offering a breeding ground for innovation. In the back alley city streets, clubs and saloons, basements of homes and African-American dance