Jazzkonferenzen |
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If you have any additions to this listing, please let us know:
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Regular
series of lectures and discussions organized by the Institute of
Jazz Studies All programs are free and open to the public, and take
place Wednesday evenings from 7 to 9 pm in the Dana Room, 4th floor,
Dana Library, Rutgers University, 185 University Ave., Newark, NJ.
Refreshments will be served. For further information please call
(973) 353-5595. Website: http://newarkwww.rutgers.edu/IJS/ Program:
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Gender and Notions of Authenticity in Jazz Arranged by Svenskt visarkiv, Stockholm Jazz is the musical form that, perhaps, has best accompanied the emergence of modern society over the last one hundred years. Jazz is in many ways “urban music,” a synonym for modernity and urban culture’s quest for total liberation. As a genre, jazz is an aggregate of styles and traditions from near and far that has been well concocted into a music that can be expressed in many different ways. It has brought women and men together in pleasurable urban settings such as dance halls and ballrooms, where social controls that long characterized the countryside, were nearly nonexistent. Jazz anticipated what was later regarded as rock ‘n’ roll’s youth culture, and the jazz scene could just as well have been described as “sex, drugs, and jazz”; long before the genre of rock music had its breakthrough. Jazz has, in its various guises, spoken to most people’s attitudes and needs: which could be aesthetic, intellectual, humorous, carnal, political, rebellious, and sensual in their expression. At the same time, jazz has, throughout the whole of its history, propagated myths that have favored certain subjects and rejected others. With this conference we want to focus on a couple of “unwritten laws”: jazz’ gender and sexual politics, and the deep rooted perception of authenticity. Despite its close connection to modernity and liberation, it is easy to perceive that jazz, for most of its history, has mainly been a man’s domain. This applies to musicians as well as listeners (“cookers”). Among jazz practitioners, women have primarily been, and continue to be, vocalists – from “beautiful” back-up singers meant to promote the orchestra, to independent solo singers with artistic intentions. Female jazz instrumentalists first began to take their place to a greater extent during the 1970s. Even researchers, journalists, and writers within the jazz field have, until recently, been almost exclusively men, which of course impacts how jazz history has been written. Is this situation expressed here the same all over the world within the jazz community? Theme 1: The gender of jazz How can a music genre, which offers such a great “potential for freedom” still be so homophobic and contain such strong gender stereotypes? What roles and positions have been possible for both women and men within the jazz world? And how broadminded has the jazz culture really been regarding questions of sexuality? Theme 2: The myth of artistic authenticity A related theme is the myth of artistic authenticity that lives on within the jazz tradition. These can include the notion that a musician must have lived “life’s downsides” in order to have something genuine to share through one’s music, or that a musician must find one’s “own tone”, in a broad sense, a tone which is closely associated with a musicians identity. In the earlier days of jazz, a musician’s playing style was often associated with one’s life style. But how is it today, when most jazz musicians come from a comfortable middle class environment, have an academic education, and have chosen to be musicians on a basis different from “an inner necessity”? Can one actually hear that in the music? What about race and nationality? Can jazz from the Nordic countries be authentic? Call for Papers These are some of the questions we hope to explore during the conference. We welcome presentations that illuminate and problematize the jazz music scene as well as jazz criticism from a gender perspective and/or that deal with ideas of authenticity. The papers may not exceed 20 minutes in length and the conference language will be English. Email your paper title and an abstract (no longer than 1000 signs) to Roger Bergner (roger.bergner@visarkiv.se) at the latest by February 29, 2012. Keynote speaker: Simon Frith e welcome your applications and hope to see you in Stockholm!
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Jazz, pouvoir et subversion en France, Allemagne et Russie
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Call for Papers: Ethics and the Improvising Business Critical Studies in Improvisation / Études critiques en improvisation invites submissions for a special issue with the theme "Ethics and the Improvising Business," guest-edited by ICASP Project Director Ajay Heble, Co-Investigator Tina Piper, and Postdoctoral Fellow Mark Laver. We seek contributions from artist/practitioners and from scholars working across the disciplines (music, literature, performance studies, anthropology, organization studies, economics, sociology, gender studies, philosophy, psychology, education, management studies, among others). Potential topics include:
Musical improvisation represents a profoundly collaborative creative process. The improvised framework demands that musicians collectively, spontaneously negotiate a set of external challenges-possibly including a harmonic progression, a texture, a tempo, a groove, or the expectations of an audience-as well as internal challenges, such as divergent tendencies, tastes, or knowledge bases within the group. A successful negotiation hinges on a dialectic of individual knowledge and collective innovation: musicians depend on the individual years of practice through which they developed their unique technical, listening, and expressive skills, while at the same time responding quickly and spontaneously to the rest of the group (and to other variables in the performance milieu) in a manner that evinces innovation, creativity, and surprise. Therefore, while improvisation depends heavily on a musician's cultivation of individual skills, both the improvised process and the (hopefully successful) outcome of that process are equally shared among members of the group. In light of the collaborative essence of musical creativity, a growing number of management theorists are looking to group musical improvisation as a model for corporate design. In the post-fordist, global marketplace, sudden change has become a quotidian part of the business experience. Just as a group of improvisers must negotiate sudden musical changes, unanticipated changes in the marketplace demand a similar kind of collaborative response. Faced with the unexpected, many businesses respond with collective flexibility. They establish a profoundly dialogical management structure, encouraging employees of all levels to engage in problem-solving. Akin to the musical knowledge-innovation dialectic, businesses walk the line between what Roger Martin calls reliability and validity, trusting in the knowledge and study that underlies their extant systems and models, while at the same time embracing the promise held by innovation, creativity, and surprise. Above all, they work to engage every individual in the group, giving every employee a sense of collective ownership over the challenges and the solutions. While this burgeoning area in management studies has focused on the ways in which improvised musical practice might serve as a model for fomenting collective creativity in a corporate environment, very little extant scholarship has addressed the sociopolitical ethics that are so often an intrinsic element of improvised musicking. Because of the putatively intense dialogism and egalitarianism demanded of improvising musicians, scholars of music and culture, and musicians as well, many of them associated with the Improvisation, Community, and Social Practice (ICASP) project, have identified the improvised performance paradigm as a potentially profoundly ethical framework for music making. Indeed, in light of recent global political and economic developments-including the fallout from the ethically vexed speculative investing that led to the dotcom crash of 2000, the 2008 mortgage crisis, and the rise of the Occupy movements in 2011 (and with an eye to growing ethical activism in the consumer base)-ethical concerns have become increasingly urgent for corporations of virtually all stripes. These and countless other events have forced corporations to consider the sociocultural, political, and environmental impact of their actions, and to begin to reconceptualize business policy in terms of social policy. Indeed, a growing number of political power-brokers such as former UN Secretary General Kofi Annan and Davos World Economic Forum founder and executive Chair Klaus Schwab have called on businesses to recognize the emergent ethical obligations that their pervasive influence entails. With this in mind, the communitarian ethics and contra-capitalist critiques that attend to improvised musics around the world are every bit as relevant to management studies as the collaborative modes of creativity that undergird improvisatory praxis. At the same time, however, it is crucial to consider that improvised musics frequently emerge from marginalized communities around the world. Even where comparatively affluent communities practice the music, it is commonly inextricable from contra-capitalist politics. Improvisation therefore often represents a means of sounding resistance-a kind of "musicking from below" that challenges the logics of the free market economy by purposefully severing aesthetic value from exchange value: from the scope of production and the degree of consumption. With this in mind, a corporate use of improvisation as a model for creative problem-solving that ignores the music's indelible sociopolitical ethic stands as a clear example of hegemonic appropriation and dilution of a provocative, subaltern cultural practice. By the same token, a corporate use of the music that pays lip service to the improvisational ethic in order to obfuscate unethical behaviour in other areas-"greenwashing," for instance, or dedicating a meager proportion of net profit to CSR initiatives in order to achieve marketing goals-constitutes dissimulation at best; at worst, hypocrisy. Critical academic essays are encouraged but the editors also welcome for consideration artist statements, commentaries, reviews, interviews and experimental textual forms. CSI/ÉCI encourages the submission of audio and visual content to accompany texts. It is the responsibility of the author to ascertain copyright and gain permissions. Submissions should be 4000-6000 words (shorter essays may also be considered at the discretion of the editors). Please submit completed essays by April 13, 2012. Information on the submission process and examples of previously published work can be found at www.criticalimprov.com. Inquires can also be directly made to csi-eci@uoguelph.ca Critical Studies in Improvisation/Études critiques en improvisation is an open-access, peer-reviewed, electronic, academic journal on improvisation, community, and social practice housed at the University of Guelph. The editorial and advisory boards are made up of leading international scholars spanning diverse disciplines. CSI/ÉCI publishes twice a year, in May and December. The journal publishes scholarly essays by artists, activists, and intellectuals, as well as reviews of books, performances, and films. Michelle Peek
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Leeds International Jazz Education Conference:
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Improvisation is a gateway to discovery. Improvising as an artist is more than just creating new works of art spontaneously; it is also the process we use as individuals to create ourselves and discover our relationship to the world around us. At our best we transcend to spiritual planes - becoming both more ourselves and more finely tuned to our environment. At our worst, we are confronted with uncomfortable truths that we cannot bypass - we must evolve beyond them to move forward and open up to broader vistas. In every case, we learn, we grow, we share, and most importantly we awaken to who we are. This year's festival/conference explores the relationship of improvisation to the self and community and everything that entails. Join us for this rare opportunity to share and learn what we all experience about each other and ourselves through improvising together. In addition to music, ISIM welcomes performances and talks from improvisers in dance, theater, film, poetry, performance art, and other fields. Individuals interested inperforming or presenting at the event will find the full Call for Proposals at www.isimprov.org. Proposals will be accepted electronically via the following link: Proposal Submission Form. Proposals will only be considered from current ISIM members. If you are not yet a member, you are invited to JOIN ISIM. If you are already a member and need to renew, please do so here. If you are proposing a group presentation or performance, all members of your group must be current ISIM members (large ensembles can join at Associate Membership level). Please ensure that your proposal is considered for a slot at the conference by making sure your membership is up to date. Proposal Deadline: October 4th, 2011. Notification date: October 11th, 2011 Questions? Please contact: Kate Olson, Conference Director, kate@isimprov.org, 307-760-4306
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Histories, aesthetics, and politics of South African jazz: An indaba convened by the Rhodes University/Mellon Jazz Heritage Project Conference date: 17 – 18 January 2012 Since the 1920s South Africa has been home to an ever diversifying tradition of jazz musicking and criticism that is arguably second only to that of the United States’ in its historical, aesthetic and political scope. Currently there are numerous South African jazzes that are variously elite, disempowered, black, white, interracial, national, cosmopolitan, commercial, avant-garde, etc. Scholarship on South African jazz reflects this musical and social diversity and includes work from a range of inter/disciplinary and theoretical perspectives – social-historical, ethnomusicological, musical-analytical, literary-theoretical, etc – by established and emerging researchers. Despite thematic continuities across this work, the dispersed disciplinary, geographical and institutional loci of researchers has made it difficult to develop more focused conversations around South African jazz. The Rhodes University/Mellon jazz heritage indaba seeks to address this situation by striving to bring together scholars working on any aspect of South African jazz. It is envisaged that a peer-reviewed selection of papers presented will be collated within a special issue of SAMUS The keynote speaker is Ingrid Monson who is the Quincy Jones professor of African-American music at Harvard University. Submission Procedure Organising Committee The programme committee will be chaired by Jeff Brukman and Christopher Ballantine. There is no conference fee for presenters, but presenters will be responsible for their own travel and accommodation expenses.
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Developing Tomorrow’s Jazz Audiences Today Jazz Education Network Conference Call for Conference Papers Deadline: August 15th, 2011 - Midnight EDT The third annual Jazz Education Network Conference, January 4-7, Louisville, KY is calling for submission of research papers related to the conference theme: Developing Tomorrow’s Jazz Audiences Today. The research track solicits the submission of original, principled research papers dealing with topics related to audience development for jazz in particular, but also for the arts in general. The research track will run parallel with presentations by the Jazz Arts Group of Columbus on the Jazz Audiences Initiative. Such presentations will include various track offerings, i.e. Marketing and Messaging; Venues; and Presenting and Producing. During the past 18 months, the Jazz Audiences Initiative has studied fundamental questions related to how and why people engage with jazz. Jazz artists, producers, presenters, and educators nationwide will learn new ideas for building audiences, and infusing the art form with new energy. The research serves as a framework for testing new strategies for overcoming barriers to jazz participation and for building jazz audiences through more targeted marketing and programming efforts. For more information on the initiative and a review of the literature, visit: http://www.jazzartsgroup.org/jai The Jazz Audiences Initiative explored the following key research questions:
Submission guidelines: Submit a 1-2 page abstract by August 15th, 2011. Papers should directly relate to the research questions above and may include:
Submissions need to be Word documents in .doc or .pdf format. Presentations will be 50 minutes in length, including a minimum of 10 minutes for questions and answers. Presenters will also have the opportunity to present their findings in a combined poster/ information session showcasing all accepted research findings. A projector and screen will be available, presenters will need to provide their own computers and projector adapters. Membership in JEN is required to submit an application and applicants agree to attend the JEN Conference if selected. Completing the JEN Online Application Form is a requirement in order to submit materials related to presenting research at the 2012 Conference. Please be advised materials will not be accepted in any other form and/or after the deadline has passed. In an effort to assist you in this process, we have created the above GUIDELINES specific to what you need to do in order to prepare your materials in advance to complete and submit your application successfully. It is recommended you print this page for reference as you prepare your materials. Applicants agree to become members of JEN and attend the JEN Conference if selected. TIMELINE Stage One:
Stage Two:
Stage Three:
Contact:
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ASPM-Tagung "Populäre Inszenierungen / Inszenierungen des Populären in der Musik"Vom 18.-20.11.2011 findet in Paderborn in Kooperation mit der dortigen Universität die ASPM-Tagung "Populäre Inszenierungen / Inszenierungen des Populären" statt. Weitere Information: http://aspm.ni.lo-net2.de/info/index.htm
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Democracy and Difference (AISNA Conference) THEME The global tendency towards democratization, combined with the rise of identity politics, is increasingly paralleled on the one hand by renewed reflections upon the foundations of democracy itself and on the other by complex representations of identity grounded on the articulation of difference. How are conceptions of democracy and difference changing under the influence of these forces and in the midst of multiple global crises such as wars and starvation, climate change, and financial instability? What can American Studies and its affiliated areas of inquiry do to provide methods and questions that facilitate consideration of crucial issues and engage contemporary change across disciplines, boundaries, languages, and cultures? The 21st AISNA Biennial International Conference offers a forum for critical engagement with American Studies—with the US, as well as with “America” and the Americas, Europe and the Americas, the North and the South, and the trans-Atlantic and the intra-Pacific. Consideration is given to democracy and difference in various social, cultural and institutional contexts, highlighting both interior and international perspectives, as well as to expressions and interpretations of possible interconnections among multicultural societies. Multidisciplinary and comparative approaches are deployed to map the distinct yet interconnected geographies of the present to engage democracies enriched by difference and differences nourished by democracy—i.e., to provoke a fruitful conjugation of the differencing of democracy with the democratization of differences. Call for Papers and Contact:
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12. Darmstädter Jazzforum – 29. September bis 2. Oktober 2011... Symposium / Konzertreihe / Workshops / Buchdokumentation ... mehr HIER ! Jazz als Musik des 20sten Jahrhunderts! / Jazz als Musik des 21sten Jahrhunderts!Jazz war die Musik des 20sten Jahrhunderts, die Musikform, die als expressive Kraft weit über ihr eigenes Genre hinausgewirkt hat. Selbst im 21sten Jahrhundert gehört der Jazz nach wie vor zu den kreativsten und inspirierendsten Musikformen, weil er durch die ihm eigenen Techniken, allen voran die Improvisation, Musiker zum spontanen Ausdruck ihrer selbst fordert, wie dies sonst kaum eine Kunst tut. Der Jazz ist eine Musik, die immer auf ihre Umgebung reagiert hat, auf soziale, gesellschaftliche und ästhetische Entwicklungen. Diese Eigenschaft des Jazz, seine direkte Reaktionsfähigkeit, machte ihn immer auch zu einer hochpolitischen Musik, die in Diktaturen aneckte, weil im Jazz Individualismus wichtiger war als Angepasstheit. Der Jazz zeichnet dabei die gesellschaftlichen Entwicklungen der Umgebung nach, in der diese Musik stattfindet. Auf Deutschland bezogen wäre das etwa der künstlerisch-ästhetische Aufbruch der 1920er Jahre; die Rolle des Jazz als Gegenkultur zum Nationalsozialismus in der Zeit des Dritten Reichs; die offene Identifizierung von Jazz, Freiheit und Demokratie nach Kriegsende und Befreiung; die politischen Konnotationen, die der Jazz im Osten Deutschlands als Stimme des Westens und damit einer anderen Gesellschaftsordnung besaß; das neue Verlangen nach Freiheit – auch von Machtstrukturen in den Bürgerrechtsbewegungen der 1960er Jahre; der antiautoritäre Protest der westdeutschen Studentenbewegung der 1970er Jahre; die ästhetischen Diskussionen der Postmoderne der 1980er Jahre; der gesellschaftliche Umbruch im Zuge der Wiedervereinigung in den 1990er Jahren; das neue nationale Selbstbewusstsein, das sich in den ersten zehn Jahren des 21sten Jahrhunderts zeigte. Im Jazz zeichnen sich all diese Bewegungen nach; mehr als viele andere Künste entwickelt er sich dabei nah am Puls der Zeit. Nach Expressionismus, einem musikalischen Nachkriegs-Strukturalismus und postmodernem Eklektizismus ist der Jazz in seinen zeitgenössischen Ausprägungen bis auf den heutigen Tag eine Stimme der aktuellen Moderne, spiegelt aktuelle Tendenzen ästhetisch wider und versucht diese im Experiment weiterzuentwickeln.Minderheitenmusik? Schwer verständlich? Die Intensität des Jazz und seine Positionierung in den letzten Jahrzehnten innerhalb der künstlerischen Avantgarde machten ihn im allgemeinen popmusikalischen Diskurs zu einer randständigen, weil schwer verständlichen Musik. Er sei zu intellektuell, zu komplex, zu anstrengend, zu wenig nachvollziehbar, heißt es da. Und auch der Jazz hat sich scheinbar damit abgefunden, als Minderheitenmusik geführt zu werden. Die Musik sei nun mal "etwas komplizierter", sagen die Fans, wenn der Saal mal wieder nicht so voll ist bei anspruchsvollen Konzerten; man müsse ja schließlich auch einiges Vorwissen mitbringen, entschuldigen sie das überhöhte Alter der Hörer. Doch ist es tatsächlich so, dass Jazz, und zwar auch anspruchsvoller avancierter Jazz, einem nicht-eingeweihten Publikum nicht zugemutet werden kann? Ist es tatsächlich so, dass ein Grundverständnis über musikalische Kommunikationsstrukturen im Publikum vorhanden sein sollte, damit sie einen Konzertabend (oder gar eine CD) durchstehen? Oder ist das alles eine Mär, die davon ablenken soll, dass "der Jazz" – also alle, die mit seiner Vermittlung zu tun haben, von Musikern über Konzertveranstalter, Pädagogen, Journalisten bis hin zu den Fans – es versäumt hat, die Menschen mitzunehmen auf die musikalische Reise, das Interesse zu halten oder zumindest wieder zu wecken, nachdem es offenbar bereits weitgehend abgestorben war? 12. Darmstädter Jazzforum: Jazz to the People ... Jazz vermittelnDas 12. Darmstädter Jazzforum widmet sich der heiklen Frage, was zu tun ist, damit die verschiedenen Formen der Musikvermittlung dem Jazz zu dem öffentlichen Ansehen verhelfen, das ihm seiner ästhetischen und sozialen Kompetenz zufolge nach wie vor zusteht. Es fragt dabei nur kurz danach, wie es dazu kommen konnte, dass der Jazz scheinbar einen Großteil seiner Popularität verlor, welche Mechanismen zwischen Ästhetik, Musikwirtschaft und staatlicher Förderung dazu führten, dass der Jazz – im schlechtesten Sinne – als eine elitäre "Kunst"-musik wahrgenommen wird, die sich um ihre Hörer nicht weiter bemühen muss – und inwieweit diese Entwicklung eine globale war oder in verschiedenen Ländern unterschiedliche Ausprägungen erfahren hat. Zum Thema Ausbildung gehört auch die Ausbildung an der Hochschule, bei der zu fragen ist, inwieweit Jazzabteilungen Sinn machen, wenn sie nur darauf ausgerichtet sind, Jazzmusiker hervorzubringen und nicht, die ureigenen Kompetenzen des Jazzmusikers in den großen Ausbildungstopf der Hochschule einzubringen, bei dem also jeder, egal ob er oder sie Alte Musik, Oper, Jazz oder Pop zum Studienschwerpunkt macht, sich mit der Improvisation befassen sollte, genauso wie man Kontrapunktkurse belegen muss – und hier haben nun mal die Jazzer die meiste Erfahrung. Ein weiteres Thema wird die Vermittlung in den Medien sein, in denen der Jazz meist vor allem in Spezialveröffentlichungen abgehandelt wird oder aber – in der Tagespresse – von Hobbyjournalisten, und in denen ein wirklicher Diskurs über Zustand und Entwicklung der Szene kaum stattfindet. Ein drittes Thema ist aber auch die Vermittlung der Szene selbst: Wie gehen Musiker auf ihr Publikum ein, und warum sind Musiker, die großen Publikumserfolg haben, vielen in der Jazzszene so suspekt? Eingeladen werden Medien- und Kommunikationswissenschaftler, Pädagogen, Journalisten, PR-Experten, aber auch die praktischen Vermittler, also Musiker und Veranstalter. Forum = Treffpunkt = Basis für Projekte auf unterschiedlichen EbenenIm Rahmen des Darmstädter Jazzforum wollen wir Experten zusammenbringen und aus dem Gespräch, aus den Diskussionen und Workshops lernen, wie die Vermittlung dieser so überaus lebendigen Musik weiterhin so unterstützt werden kann, wie dem Missverständnis, der Jazz sei schwer zugängig, entgegenzusteuern ist. Symposium Zum Symposium vom 29. September bis 1. Oktober 2011 werden Musikwissenschaftler, Historiker, Journalisten, Kollegen aus angrenzenden Fachgebieten und Musiker eingeladen. Das 12. Darmstädter Jazzforum fordert die Referent/innen auf mit ihren jeweils etwa einstündigen Beiträgen in die Vergangenheit, in die Gegenwart und in die Zukunft der Jazzvermittlung in Medien, Ausbildung und auf Bühnen zu blicken.
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Rhythm Changes: 2-4 September 2011, Amsterdam The first Rhythm Changes Conference will take place in September 2011 and will be hosted in partnership with the Conservatory of Amsterdam. The three-day Conference will explore the theme of ‘Jazz and National Identities’ and will include presentations from an international line up of jazz researchers. Keynote Speakers
Conference outline Throughout its history, jazz has played an important part in discourses about national identity, politics and cultural value; indeed, the music continues to play a complex role in the cultural life of nations worldwide. Within this context, jazz is an ideal cultural form from which to explore a number of critical questions bound up with national identity, from the development of national sounds andensembles to the politics of migration and race, from the impact of globalisation and the hybridisation of musical styles to the creation of social institutions and distinct communities, from jazz’s shifting aesthetic status from popular to canonical ‘art’ music. Jazz has developed in a range of national settings through different influences and interactions, so is ideally placed to explore wider issues surrounding identity and inheritance, enabling unique perspectives on how culture is exchanged, adopted and transformed. Call for papers Rhythm Changes is a three day multi-disciplinary conference that brings together leading researchers in the fields of jazz studies, media and cultural studies. The Conference committee invites papers and panel proposals that feed into the Conference theme and is interested in featuring perspectives from a range of international contexts. Although not restricted to specific themes, possible topics could include:
The Conference committee welcomes individual papers and proposals for panels and round table discussions. For individual papers, abstracts of no more than 300 words should be submitted. Panels and round table proposals should include a session overview, participant biographies and description of individual contributions. Abstracts and proposals (as well as event queries) should be sent to Professor Walter van de Leur (W.vandeLeur@uva.nl) by 25 February 2011. Conference Committee Nicholas Gebhardt (University of Lancaster), George McKay (University of Salford), Walter van de Leur (Conservatory of Amsterdam and University of Amsterdam), and Tony Whyton (University of Salford).
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Leeds International Jazz Conference 2011: Time Captured - Jazz Composition, Composing and ComposersThursday 7 & Friday 8 April 2011 The conference committee invites proposals for research papers, workshops, lecture-recitals, panels and roundtable discussions.
Individual presentations should be no more than twenty minutes in duration. There may be opportunities for longer slots for lecture-recitals and workshops. Proposals should take the form of a title followed by an abstract of not more than 200 words, and should include details of each presenter(s) including brief biographical description. Any queries about a proposal should be directed to the LIJC 2011 Conference Director: Louise Gibbs l.gibbs@lcm.ac.uk Submissions should be addressed to: Caroline Stephenson, Academic Administrator, c.stephenson@lcm.ac.uk or send to: Leeds College of Music3 Quarry Hill Leeds LS2 7PD United Kingdom Attending LIJC 2011 For more information and to make a booking for the conference please contact Louise Wood, Events Manager, on l.wood@lcm.ac.uk |
Call for Papers
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The Use of Audiovisual Resources in Jazz Historiography and Scholarship Performance, Embodiment and Mediatised RepresentationsCall for PapersPlease note: deadline extended (see below)! Watching Jazz: Analysing Jazz Performance on Audiovisual ResourcesConference, 18/19 February 2011, University of Glasgow Keynote address: John Altman Jazz historiography has traditionally revolved around sound recordings, with still images, written documents and oral histories employed as complementary sources. Although this approach has generally been regarded as successful, there is growing awareness among scholars of the problematic nature of such heavy reliance on sound recordings. In particular, it has obscured aspects of the music and the cultural practices surrounding it that are not apparent from sound recordings, and has led to the marginalisation of musicians who did not produce their best work in the recording studio. The AHRC-funded project ‘The Use of Audiovisual Resources in Jazz Historiography and Scholarship Performance, Embodiment and Mediatised Representations', which is part of the ‘Beyond Text' scheme, proposes to address this situation through research based on the Altman Koss Collection of audiovisual recordings of jazz performances. Consisting of more than 10,000 VHS tapes and DVDs, mostly of televised broadcasts, this collection spans the history of jazz, from the invention of sound film to the present, in all its geographic and cultural variety. Part of the project is a two-day conference, and we hereby invite contributions on all aspects of jazz performance on audiovisual resources. Among the topics to be addressed are:
It is planned for a selection of the papers to be published in a collected volume. Participants are encouraged to access materials in the Altman Koss Collection to support their research (for details, contact Björn Heile, using the email below). We invite proposals for individual papers, panels and lecture-recitals. Individual papers should be no more than 30 minutes long, followed by 15 minutes for questions and answers. Proposals for individual papers should be no more than 300 words, and proposals for panels no more than 1000 words. Abstracts should be emailed as an anonymous attachment (doc, rtf or pdf format) to <jazzvideo.conference@googlemail.com> by 1 October 2010 (extended from 1 September). The body of the email should contain the proposal's title(s) and clarify the full name and institutional affiliation (or place of residence) of all proposed participants, as well as the e-mail address that should be used for correspondence. We intend to respond to all potential participants by early November 2010. The programme committee consists of the project's investigators: Jenny Doctor (University of York), Peter Elsdon (University of Hull) and Björn Heile (conference organiser, University of Sussex/University of Glasgow).
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Filmer le jazz : appel à contributions L'appel à contributions de l'ouvrage Filmer le jazz, à paraître aux
Presses Universitaires de Bordeaux, est renouvelé avec de nouveaux délais.
En raison de contraintes matérielles, ce livre ne pourra paraître que dans
l’hiver 2010-2011. Le contenu de l'appel à contribution demeure inchangé. Dans le cadre du partenariat festival les "24 heures du Swing" -
Université Michel de Montaigne Bordeaux III - Collège jazz Éléonore de
Provence, une journée d'étude sur le thème de "Filmer le jazz" s'est
tenue en avril 2009. Suite à cette journée, a été décidé de promouvoir un
livre intitulé "Filmer le jazz" à paraître aux Presses Universitaires de
Bordeaux. On pourra consulter toutes les informations sur les colloques de
Monségur, la publication des actes, la table ronde "filmer le jazz" Entre jazz et cinéma, le lien semble consubstantiel. Le premier film
parlant de l’histoire contient dans son titre le mot "jazz", ("Le L'axe historique, qui semble étroitement dépendant de l’histoire des
techniques d’enregistrement des images et du son, ainsi que des enjeux économiques et sociaux de leur diffusion. Celui des genres, des questions
propres aux genres : film long ou court, documentaire, comédie musicale.
Quelles sont les places respectives du jazz, de la danse et du film?
Musique de film ou film musical? Les approches sous l’angle de l’écriture
cinématographique et de la réception de cette écriture, qui consistent à Ce rapide tour d’horizon de grands axes de questionnement montre combien le thème de réflexion autorise quantité d’approches et permet de croiser de multiples disciplines et modalités de réflexion. Les contributions, pourront donc être très variées. Elles pourront se focaliser sur uneépoque, un auteur, un thème de film, un film particulier, voire un plan de film, ou encore sur une forme particulière de jazz ou de danse, sur un musicien ou un danseur, la présence d’un standard dans plusieurs films, ou d’un instrument. Mais elles pourront aussi bien proposer d’embrasser des corpus plus vastes, sous l’angle historique, musical, chorégraphique ou générique… Des interviews de cinéastes ou de musiciens sont bienvenues. Enfin, toute approche permettant d’approfondir et d’éclairer la question centrale du lien entre le jazz et le film, ainsi que le jazz, la danse, et le film sera bienvenue. Les responsables de l’édition accusent réception de tout article ou de tout projet d’article. Après lecture du texte ou du projet, dans un délai maximum d’un mois après réception, nous précisons si le texte ou le projet sont acceptés. La limite haute est de 50 000 signes par article, aucune limite basse. Textes en anglais acceptés. L’envoi s’effectue sous forme électronique, format PDF, Word, ou open office de préférence. Par courrier postal, utiliser l'adresse suivante : OMCL, "Colloque jazz", 46 rue St Jean, 33580 Monségur, France. Un jeu d’épreuves est retourné pour ultimes modifications avant publication. Publication: hiver 2010-11. Calendrier (nouveau): Envoyer les textes à: Responsable de l'édition : Thierry Maligne. --- --- --- Filming Jazz: call for contributions A day of study on the subject "Filming Jazz" was organized in April 2009 within the partnership framework of the "24 Heures du Swing Jazz Festival" – “Université Michel de Montaigne Bordeaux III” & “College jazz Eleonore de Provence”. Following this day of conferences it was decided to promote a book titled "Filmer le Jazz" to be soon published by the Presses Universitaires de Bordeaux. Check information on Monségur, publication of acts, the round table conferences "Filming Jazz" held in 2009 on the following link (website of the festival): http://college.monsegur.free.fr/spip.php?rubrique15 Jazz and Cinema appear to be deeply linked. The first “talkie” in the history of cinema contains the word "jazz" in its title ("The Jazz Singer"). Cinema has been connected to jazz music since its beginning and vice versa. This common past has generated a very significant number of films linked one way or another to jazz and jazz dance. The following main lines of reflection could thus be put forward: The historical point of view which seems to be closely dependent on the history of techniques for recording images and sound, as well as economic and social dissemination issues. Gender, gender-specific issues: long or short film, documentary, musical? What are the respective places of jazz, dance and the film? The musical score of a film vs. a musical film? The angle of cinematographic writing and the reception of that particular writing consisting in questioning the place of music within the fiction, its role in the narrative flow, its influence on the expectations of the viewers or listeners. What is the role/place of jazz in the musical scores of the films? Techniques and methods. How can jazz, improvisation, or jazz-dance be filmed? By integrating business issues, anecdotes, jargon, workplace issues, meetings between cinema professionals, actors, dancers and musicians...? Jazz music: in what respect is it influenced by the image? Does jazz remains jazz on the screen? This rapid overview of the main lines of questioning shows how much this theme allows quantity of approaches and enables to cross multiple disciplines and methods of reflection. Contributions could therefore be extremely varied and focus on a particular era, an author, a specific film, a precise theme or even plan of a film, a specific form of jazz or dance, a musician or a dancer, the presence of a standard in several films, or an instrument. But they may well offer to embrace a broader corpus in historical, musical, choreographic or generic terms… Interviews of filmmakers and musicians are welcome. Lastly, any action to deepen and inform the central issue of the relationship between jazz and film, as well as jazz, dance, and film will be welcome. Editing officials acknowledge any article or any project item. Schedule (new): Email texts to: Publishing Manager: Thierry Maligne.
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| Jazz and Race, Past and Present
A conference at The Open University, 11-12 November, 2010 Keynote speaker: Guthrie Ramsey, Professor of Music, University of Pennsylvania and author of Race Music: Black Cultures from Bebop to Hip-Hop (2003). Emerging at the confluence of diverse streams, the genre we know as jazz was made predominantly by African-Americans for a good deal of its history. Indeed, African-American musicians and critics have often claimed the form as their own, part of their people’s struggle to assert their humanity in the face of a racialised structure of power which would deny it. However, year by year this position grows more difficult to sustain as jazz spreads around the world, and more musicians of other ethnic origins, and who are socially positioned in different ways, enter the field. Often they bring their own distinct musical and cultural resources to bear on the problem of making jazz. Meanwhile, of course, racial oppression persists in western and other societies. The aims of the conference are to examine, refute or develop this account, and to do so across all the disciplines which touch on jazz. In particular, contributors might want to consider the following themes, or use them as points of departure. We wouldn’t want to be prescriptive though. Any proposal which addresses the problems of jazz and race, past and present is welcomed.
We invite proposals for papers which address these and related questions from across the disciplines including: (ethno)musicology, cultural and media studies, sociology, anthropology, history, literary and performance studies, American studies, film studies. The conference is supported by the AHRC ‘Beyond Text’ research project based at the Open University, What is Black British Jazz? Routes, Ownership, Performance. So contributions which concern issues of jazz and race in Britain are particularly welcome. We should also acknowledge generous support from the ESRC Centre for Research on Socio-Cultural Change. Proposals for 20 minute papers should be between 150 and 200 words in length. Please send to Jazz-and-Race-conference@open.ac.uk making sure you include the paper title, your name, affiliation, full postal address and email address. Closing date for submission is Friday 2nd July, 2010 . It’s worth noting that the conference takes place immediately before the London Jazz Festival, and so could be combined with a weekend of great jazz just down the road/line in the capital. Conference convenors are Catherine Tackley, What is Black British Jazz? The Open University; Jason Toynbee, What is Black British Jazz? The Open University; Tony Whyton, Salford University; Nicholas Gebhardt, Lancaster University.
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| 2010 Guelph Jazz Festival Colloquium “Improvisation, Community, and Social Practice" University of Guelph, Guelph, Ontario, Canada Call for Papers The Guelph Jazz Festival, in conjunction with the Macdonald Stewart Art Centre, the University of Guelph, and the SSHRC MCRI research project on “Improvisation, Community, and Social Practice,” invites proposals for papers to be presented at our annual three-day international interdisciplinary conference. This year's colloquium will take place September 8th to 10th as part of the 17th annual Guelph Jazz Festival (September 8-12). It will bring together a diverse range of scholars, creative practitioners, arts presenters, policy makers, and members of the general public. Featuring workshops, panel discussions, keynote lectures, performances, and dialogues among researchers, artists, and audiences, the annual colloquium cuts across a range of social and institutional locations and promotes a dynamic international exchange of cultural forms and knowledges. This year's colloquium will also take place on the heels of our two week Summer Institute for Critical Studies in Improvisation at the University of Guelph (www.improvcommunity.ca/summerinstitute ). Improvisation studies and studies of embodiment (from fields such as gender studies, disability studies, queer theory, and dance studies) have much to offer each other, yet these spheres often function independently and rarely in a way that accounts for the nuances of their complementary intersections. This year’s colloquium will focus on the body as a site for the analysis of new perspectives, new methodologies, new artistic and cultural practices. As a category of analysis, the improvising body opens up several vital areas of inquiry in theoretical and historical musicology, ethnomusicology, philosophy, performance studies, literary studies, women’s studies, media studies, jazz studies, and work on cultural memory and memorialization. We invite papers that draw on these areas of inquiry, as well as research with particular interests in disability studies, mobility and access in public spaces, postcolonial theory, performance studies, queer theory, theories of race and ethnicity, feminist theories of embodiment, the economic crisis, and dance studies. What is a body, what is an improvising body, how do bodies improvise or are they improvised, and how does improvisation contribute to new thinking on bodies and embodiment? What does improvisation do for bodies not rendered "legitimate" or "legible" by social constructions of whole (normal) bodies? What improvising body practices/technologies resist hierarchical systems based on notions of whose bodies count, whose bodies are unruly, whose bodies are deficient/excessive? What kinds of community-practices improvise bodies in critical ways and how and what can we learn from them? Which bodies are thought of as not improvised, but pre-composed, and what does a framework of improvising bodies as process have to say to that? We are particularly interested in interdisciplinary work that speaks to both an academic audience and a general public. We also invite presenters to submit completed versions of their papers to our peer-reviewed journal, Critical Studies in Improvisation/Études critiques en improvisation (www.criticalimprov.com ) for consideration. Please send (500 word) proposals or completed papers (for 15 minute delivery) and a short bio by May 31, 2010 to The 2010 Guelph Jazz Festival Colloquium
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The Jazz Chameleon: The 9th Nordic Jazz Conference Since its arrival on the public scene in the early 20th century, jazz has been characterised by a remarkable ability to cross musical, social and cultural borderlines. In terms of musical style and character, jazz has often crossed genre categories and undergone through radical changes. In terms of geographical and cultural boundaries, one of the most notable developments in jazz has been the internationalisation of its sound. Furthermore, jazz has also been able to ‘travel in time’. The explicit sense of traditions characterises jazz history: jazz music speaks to the past and is informed by what has been before. What are these crossings really like? How have they changed during the history of jazz? Organisers of The Jazz Chameloen: The 9th Nordic Jazz Conference welcome presentations on generical, geographical, historical and other (e.g. theoretical, aesthetic, educational) crossings in jazz. The main emphasis of the presentations will be on Nordic countries and their histories but we warmly welcome other aspects as well. Proposals for presentations and work groups should be submitted as abstracts of up to 200 words by April 1, 2010 to janne@jazzpoparkisto.net. Please include the name of the speaker(s), email, affiliation, and the title of the paper or workshop group. The conference will have two invited keynote speakers, planning for Professor Bruce Johnson (Universities of Turku, Glasgow, UK and Macquarie, Australia) and N.N. (tba). Furthermore, the conference will feature discussion on the collaboration between the members of Nordic jazz archives as well as performances by Finnish jazz musicians. There will be a small participation fee. The main organiser of the conference is the Finnish Jazz & Pop Archive. More information will be published at the www.jazzconference.net. On behalf of the organisers,
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Jazz Education Network (JEN) Conference
A new organization fills the void in the jazz arts community with the announcement of its inaugural conference in the Midwest. The Jazz Education Network (JEN) meets on the campus of the University of Missouri - St. Louis May 20-22, 2010. "Jazz is the legacy of our musical heritage. Our organization is dedicated to developing the jazz audience as well as promoting and advancing education," said Mary Jo Papich, President of JEN and Fine Arts Curriculum Director at Niles Schools. A Co-Founder with President-Elect Lou Fischer, a Professor of Music from Capital University, Mary Jo went on to say, "The JEN conference is the perfect place for educators to network with performers, industry peers and jazz enthusiasts." The event unites the jazz arts community. There will be 30+ exciting clinics and insightful panels, along with captivating concerts available to everyone. "We look forward to gathering in St. Louis. It has a rich jazz heritage and about half of our membership resides in the Midwestern region," replied Papich. "Evening concerts will be of particular interest to locals in the bi-state St. Louis area," given the internationally acclaimed musicians and high caliber of talent. To date, the members who have registered to attend are drawn from 45 states and 18 countries. JEN is the only organization of its kind presenting an educational conference related to jazz music. It plans to showcase professional musicians alongside student performers from across the globe. All musicians and clinicians are non-paid volunteers. Many of the artists and ensembles, including one contemporary jazz trio from Sweden, plan to do outreach into local St. Louis area schools. More information on the website www.JazzEdNet.org.
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1. International Clare Fischer Symposium The 1. International Clare Fischer Symposium is a joint initiative of the institutes for jazz and jazz research at the University of Music and Dramatic Arts in Graz and focuses on the study, appreciation and support of Clare Fischer’s music. The event will take place in the ‘Florentinersaal’, a beautiful hall at the ‘Palais Meran’, the old main campus near the city centre. Presenters include Prof. Bill Dobbins (Eastman School of Music), Dr. Barbara Bleij (Conservatory of Amsterdam), saxophonist Gary Foster and Brent Fischer (director of the Clare Fischer Big Band). Subsequent to the presentations on Saturday, May 1, Prof. Bill Dobbins will perform a one-hour solo piano recital featuring the music of Clare Fischer. Workshops and further performances of Clare Fischer’s music will take place during the week following the symposium. The full program will be announced by February 28 at the latest. The symposium committee invites passive and active participation in the symposium. If you consider combining your participation with a holiday trip to Graz, please visit http://www.graztourismus.at for more information. Please submit individual paper proposals on any topic related to the music of Clare Fischer (of 30’ – 50’ duration plus 10’ discussion) in English or German to the Chair of the Conference Committee Michael Kahr (michael.kahr@kug.ac.at) until February 10, 2010. Lecture recitals are particularly welcome. Please limit the proposals to 250 words and attach a short biography.
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Leeds International Jazz Conference 2010: The 16th Leeds International Jazz Conference takes place at Leeds College of Music from Thursday 25 to Friday 26 March 2010. LIJC is an annual event focusing on jazz research, education and performance. It is the only conference of its kind in the UK and offers a unique forum for musicians, academics, educators, students, and arts organisers to engage with the latest sounds and ideas in jazz. Along with paper presentations, workshops, performances and jam sessions, there are opportunities for discussion, networking, information exchange, and professional development. LIJC 2010 focuses on the very heart of jazz – improvisation, and in keeping with this important theme we are delighted to welcome two eminent keynote speakers/performers. Dave Liebman, saxophonist (ex-Miles Davis and Elvin Jones), improviser, composer, recording artist and educator, is our Jazz Keynote. He will address the conference on maintaining creativity in improvisation and its teaching, offer a seminar on his Chromatic Approach to Jazz Harmony and Melody (1991/2006), run a practical workshop and perform in concert. Our academic keynote speaker is Professor Paul Berliner (Duke University), whose highly influential Thinking in Jazz: the Infinite Art of Improvisation (1994) has invigorated a generation of jazz research and scholarship. Hewill address the conference on the parallels between his study of the New York jazz scene and his longstanding research on mbira players in Zimbabwe. A specific panel and paper session will be devoted to discussing and evaluating Thinking in Jazz in terms of its impact on jazz scholarship and methodology. Call for Papers and Workshop ProposalsThe conference committee invites proposals for research papers, workshops, lecture-recitals, panels and roundtable discussions. The deadline for the submissions of proposals is 18th December 2009. We welcome presentations that advance the field of jazz improvisation, such as creative innovation in improvisational practice, the emergence of cross-disciplinary thinking and the development of new jazz scholarship. We also particularly welcome contributions to the discussion and evaluation of jazz scholarship through the prism of Berliner’s Thinking in Jazz. While proposals are invited on any area of jazz research and practice from within any discipline, preference will be given to topics which accord with the conference theme, and may address:
Individual presentations should be no more than twenty minutes in duration. There may be opportunities for longer slots for lecture-recitals and workshops. Proposals for panels should include details of each presenter and paper to be included. Our intention is to publish a selection of papers. Proposals should take the form of a title followed by an abstract of not more than 200 words. The deadline for submissions is Friday 18 December 2009, and decisions will be notified shortly after this date. Any queries about a proposal should be directed to the LIJC 2010 Conference Organiser: Professor Louise Gibbs l.gibbs@lcm.ac.uk Submissions should be addressed to: Eleanor Moore, Administration Manager, e.moore@lcm.ac.uk or sent to her at: Leeds College of Music For more information and to make a booking for the conference go to: Queries about attending LIJC 2010 should be addressed to: Louise Wood l.wood@lcm.ac.uk
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History of jazz in France "Music and musicians" With a support from the Agence Nationale de la Recherche, Universities of Bourgogne (Dijon), François-Rabelais (Tours) and Paris-Sorbonne Paris-IV are partners for a project of writing a history of jazz in France. Part of this research are three meetings organized with a view to the publishing of two books in 2011. Three symposiums, one international conference and one closing session are scheduled. The first symposium has been held in Tours (April 2009), two other ones are to be held in Paris (December 2009) and again in Tours (Spring 2010). An international conference will be held in Dijon (Autumn 2010) and one closing session in Paris (September 2011). The coordination of this project is carried out by Vincent Cotro (Tours), Laurent Cugny (Paris IV) and Philippe Gumplowicz (University of Burgundy). The first one day symposium was about cultural transfers. The second one, about to be
held in Paris-Sorbonne, December 16, 2009, aims to focus on the music played and the
musicians. The suggested topics (non restrictive list) are as following:
Send title and abstracts to Laurent Cugny (Laurent.Cugny@paris-sorbonne.fr). Deadline October 15, 2009
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| Improvisation, Diversity, and Change: Uncovering New Social Paradigms Through Spontaneous Musical Creativity
Dec 3-6, 2009 If the history of the world’s music may be seen as a an epic movement toward global syncretism, the advent of what has come to be known over the past few decades as “improvised music” may be seen as an escalation of this trans-cultural, creative synthesis. First coined to describe the further reaches of jazz, the phrase now encompasses a musical mosaic so vast that the very notion of style categories conjures up images of a distant and perhaps outmoded past. Upon closer inspection, however, strong grounding in one or more musical traditions is often the basis for the most compelling forms of multi-stylistic synthesis, revealing the dynamic interplay between style-specific and trans-stylistic awareness and skills to be central to navigating one’s way—as artist, listener, teacher, student, critic and scholar—through the contemporary musical landscape.
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Mediating Jazz Call for Papers: Keynote Speaker: Professor Krin Gabbard (SUNY), author of Hotter Than That: The Trumpet, Jazz, and American Culture, Black Magic: White Hollywood and African American Culture, and Jammin’ at the Margins: Jazz and the American Cinema Mediating Jazz is a two-day multi-disciplinary conference that brings together the leading researchers in the field of New Jazz Studies. The conference itself will comprise four key strands, each of which addresses the overarching theme of mediation in jazz: 1. Jazz and the Media 2. Performance and the Body 3. Politics and Identity 4. Jazz Cultures and Narratives Abstracts of no more than 300 words should be submitted to Dr Tony Whyton (t.whyton@salford.ac.uk) by Wednesday 27 May 2009. Review panel: Dr Tony Whyton (Salford), Dr Nicholas Gebhardt (Lancaster), Dr Catherine Tackley (Open University) and Professor George McKay (Salford) March 2009 Contact:
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The Louis Armstrong Symposium
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11. Darmstädter Jazzforum Tension / Spannung. Albert Mangelsdorff galt seit den 1950er Jahren als die überragende Persönlichkeit des deutschen Jazz. Er war ein Musiker, der stil- und genreübergreifend Anerkennung fand und an Projekten beteiligt war, die zwischen Tradition, Avantgarde und Rock/Pop wechselten. Man achtete ihn international als einen Künstler mit einem ausgewiesen eigenständigen Stil, als einen Virtuosen auf der Posaune, als einen bedeutenden Komponisten und als einen Wegbereiter des Jazz in Deutschland. Beim 11. Darmstädter Jazzforum steht Albert Mangelsdorff im Zentrum, die wichtigste Jazzpersönlichkeit des Rhein-Main-Gebiets und zugleich eine Integrationsfigur des deutschen und europäischen Jazz. Doch dreht sich nicht alles nur um ihn. Mangelsdorff ist für uns Ideengeber für eine Veranstaltung, in der es um die Geschichte des Jazz in Deutschland genauso gehen soll wie um Instrumentaltechnik, um Free Jazz, um die Frankfurter Szene, um die Auseinandersetzung des Jazz mit Rockelementen, um ein wachsendes Selbstbewusstsein europäischer Jazzmusiker, um musikalische Kommunikation, um ästhetische Probleme und Chancen des Jazz heute. Unser Jazzforum soll sich also nicht im Zurückschauen begnügen, sondern durchaus auch einen Blick auf die Welt des heutigen Jazz werfen, an der Albert Mangelsdorff sein musikalisches Leben lang mitgearbeitet hat. Der rote Faden ist letztlich die musikalische Offenheit, die Albert Mangelsdorff uns allen vorgelebt hat. Zum Symposium werden Musikwissenschaftler, Historiker, Journalisten, Kollegen aus angrenzenden Fachgebieten, vor allem aber auch Musiker eingeladen. Mögliche Themen sind etwa:
Eine Konzertreihe wird Mangelsdorff zumindest in einem Programmpunkt in den Mittelpunkt stellen; bei den anderen Programmpunkten wird es um die heutige Auseinandersetzung mit der Sprache des Jazz gehen, an der Mangelsdorff sein Leben lang gearbeitet hat. Die Konzerte werden zwischen Solo- und großer Besetzung schwanken. Sie Konzerte werden sich auch nicht nur auf den Termin des Jazzforums konzentrieren (also nicht so sehr Festivalcharakter haben), sondern bereits vorbereitend ab etwa einer Woche vor dem Darmstädter Jazzforum stattfinden und in Zusammenarbeit mit örtlichen Veranstaltern aus dem Rhein-Main-Gebiet durchgeführt werden. Ein Workshop wird Musikern aus der Rhein-Main-Region die Gelegenheit geben einen Tag lang mit einem der renommierten Musiker zusammenzuarbeiten, der im Rahmen unserer Konzertreihe beim Jazzforum auftritt. Eine Ausstellung wird Mangelsdorff schließlich als Musiker und Persönlichkeit des öffentlichen Lebens beleuchten und soll sowohl in Darmstadt wie auch in Frankfurt gezeigt werden. Eine Buchpublikation der Tagungsbeiträge ist für 2010 geplant. Das 11. Darmstädter Jazzforum feiert damit das Wirken eines der bedeutendsten deutschen Jazzmusiker mit einer facettenreichen Veranstaltung, die sich vor dem großen Frankfurter verneigt, um dann genau das zu tun, was er getan hätte: in die Gegenwart und in die Zukunft zu blicken. Das Darmstädter Jazzforum findet seit 1989 alle zwei Jahre statt und widmet sich dabei jedes Mal einem anderen Oberthema. Es ist eine weltweit einmalige Mischung aus Fachkongress, Konzertreihe, Workshop und Ausstellung und wird von Anfang an in Buchform dokumentiert. Die daraus resultierende Buchreihe "Darmstädter Beiträge zur Jazzforschung" ist mit bislang zehn Bänden die einige in Deutschland erscheinende regelmäßige Buchreihe, die sich zwischen Wissenschaft und Dokumentation mit dem Jazz auseinandersetzt. Das ausrichtende Jazzinstitut Darmstadt ist eine städtische Kultureinrichtung der Wissenschaftsstadt Darmstadt und das größte öffentliche Informations- und Dokumentationszentrum zum Jazz in Europa. More information:
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CALL FOR PAPERS Improvisation, the Arts, and Social PolicyThe Guelph Jazz Festival, in conjunction with the Macdonald Stewart Art Centre, the University of Guelph, and the SSHRC MCRI research project on “Improvisation, Community, and Social Practice,” invites proposals for papers to be presented at our annual three-day international interdisciplinary conference. This year's colloquium will take place September 9-11 as part of the 16th annual Guelph Jazz Festival (September 9-13) and invites participation around the theme Improvisation, the Arts, and Social Policy. The program will bring together a diverse range of scholars, creative practitioners, arts presenters, policy-makers, and members of the general public. Featuring workshops, panel discussions, keynote lectures, performances, and dialogues among researchers, artists, and audiences, the annual colloquium cuts across a range of social and institutional locations and promotes a dynamic international exchange of cultural forms. Interdisciplinary research in the arts and humanities can and should actively participate in the development of public social policies. We therefore invite presentations that will help integrate an enriched understanding of improvisation into the decisions and matrices of policy-makers. What would it mean to place the civic function of improvised artistic practices firmly at the centre of both broad public debate and informed policy decisions about the role of arts in society? How might it effect government policies and programs in the arts, immigration, citizenship, indigenous affairs, tax, or social justice? How might such studies provide strategic advice to relevant stakeholders to build greater public understanding of improvisation’s social role? Topics may include an analysis of government commissioned reports on arts funding; a consideration of how musical improvisation might help us approach policies of citizenship and participation; and case studies in which musical improvisation has been used in both Western and non-Western communities in order to facilitate reconciliation and forgiveness, or to bring about social change. We welcome and encourage the input of practicing improvising musicians. We are particularly interested in interdisciplinary work that speaks to both an academic audience and a general public. We also invite presenters to submit completed versions of their papers to our peer-reviewed journal, Critical Studies in Improvisation/Études critiques en improvisation (www.criticalimprov.com) for consideration. Please send (500 word) proposals or completed papers (for 15 minute delivery) and a short bio by May 31, 2009 to The 2009 Guelph Jazz Festival Colloquium,
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Postdoctoral Fellowship Program 2009-2010 ... a Social Sciences and Humanities Research Council of Canada Major Collaborative Research Initiative Improvisation, Community, and Social Practice is an interdisciplinary research project investigating the social value of improvisation. For the 2009-2010 academic year, we invite applications of postdoctoral researchers for residential fellowships at the University of Guelph, McGill University, or Université de Montréal (in association with the Centre de recherche en éthique – CREUM). Improvisation, Community, and Social PracticeThis research project plays a leading role in defining a new field of interdisciplinary inquiry. It brings together a dynamic international research team with a demonstrated track record in grant management and student training, and it fosters innovative partnerships with community-based organizations. Outcomes will range across a wide spectrum of electronic, broadcast, and print media, with a focus on policy-oriented and community-facing impacts. The project will have a significant effect on how research is done and how its results are implemented and disseminated, both within and beyond the academy. In addition to public discourse and scholarly publication, our work highlights collaboration with arts presenters, educators, and policy makers to ensure the broadest possible impact on Canadian society. The project’s core hypothesis is that musical improvisation is a crucial model for political, cultural, and ethical dialogue and action. Taking as a point of departure performance practices from post-1960s jazz and creative improvised music that cannot readily be scripted, predicted, or compelled into orthodoxy, we argue that the innovative working models of improvisation developed by creative practitioners have helped to promote a dynamic exchange of cultural forms, and to encourage new, socially responsive forms of community building across national, cultural, and artistic boundaries. Improvisation, in short, has much to tell us about the ways in which communities based on such forms are politically and materially pertinent to envisioning and sounding alternative ways of knowing and being in the world. Improvisation demands shared responsibility for participation in community, an ability to negotiate differences, and a willingness to accept the challenges of risk and contingency. Furthermore, in an era when diverse peoples and communities of interest struggle to forge historically new forms of affiliation across cultural divides, the participatory and civic virtues of engagement, dialogue, respect, and community-building inculcated through improvisatory practices take on a particular urgency. Objectives Our postdoctoral fellowships, funded through the Major Collaborative Research Initiatives (MCRI) program at the Social Sciences and Humanities Research Council of Canada (SSHRC), support the most promising new scholars in the emerging interdisciplinary field of critical studies in improvisation, and assist them in establishing a research base at an important time in their research careers. Our project seeks to contribute to interdisciplinary research and graduate training in this emerging field. We encourage applications from researchers working in the principal research areas related to our project: music, cultural studies, political studies, sociology and anthropology, English studies, theatre and performance studies, French studies, law, philosophy, and communications. We also welcome applications from different research areas, inasmuch as their research has a direct link with the social, cultural, or political implications of improvised musical practices. We are particularly interested in critically informed interdisciplinary research proposals that are prompted by the theory and practice of contemporary improvised music and its related social implications. Our research program seeks to create a climate of genuine intellectual excitement where scholars pursue research projects and participate in collaborative research activities as part of a broader network of critical practice. Postdoctoral fellows will be expected to participate in project seminars, institutes, and annual colloquia, and will benefit from the stimulating intellectual environment provided by both our extensive and inter-institutional research network and our wide range of community partners. Postdoctoral fellows will play an active role in planning the activities and research of the project. DescriptionOur postdoctoral fellowships provide stipendiary support to recent Ph.D. graduates who are undertaking original research, publishing research findings, and developing and expanding personal research networks. Fellowships will normally be awarded to candidates affiliated with a university other than that which awarded the Ph.D. Value and DurationOur SSHRC funded MCRI Postdoctoral Fellowships are valued at $31,500 CDN per year. These are non-renewable fellowships, tenable for a 12 month period beginning in September 2009. Eligibility, Application, and Deadline Applicants should have completed a Ph.D. at the time of application (to be conferred by November 1, 2009). The completed application package should be received by no later than April 30, 2009. Electronic applications are welcome, provided that original hard copies of transcripts and reference letters are also submitted by mail. Notification date for award: June 2009. _____________________________________________________________________________________________ Applicants must submit all of the following by the postmark deadline:
Address and mail applications to: Dr. Ajay Heble, Project Director Email applications to: improv@uoguelph.ca Postmark deadline: April 30th, 2009 For more information contact the Project Manager: Or the ICASP website: www.improvcommunity.ca
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8th Nordic Jazz Conference The 8th Nordic Jazz Conference will take place the 25-27th of August 2009 in Denmark and is hosted by Centre for Danish Jazz History at Aalborg University. Keynote speaker: Wolfram Knauer: History or Histories? Why it is so difficult to draft a European jazz history. More information:
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International Conference on Music Performance Analysis (ICOMPA 2009) Symposium 1: Five perspectives on ‘Body & Soul’ 12:00-13:30 Lunch / registration Symposium 2: Methods of music performance analysis 09:00-09:45 Richard Turner (Saint Julien de Jonzy): The
power of the maestro – Statistical techniques to
differentiate conductors’ interpretations Where? Musikpavillon, Obergrundstrasse, Lucerne More information:
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Kulturhauptstadt Linz 2009 Die Visualisierung der populären Musik bietet zunehmend Jazzmusikern Platz auf der Leinwand. Ob in historischen Band-Dokumenten oder aktuellen Konzerteinspielungen, in Schwarz-Weiß oder Farbe, das bewegte Leben des Jazz zeigt sich heute vor allem mittels DVD. Es ist ein Bild-Repertoire, das stetig anwächst und der Kultur- und Filmwissenschaft neue Quellen erschließt. Den „swingenden“ Bildern auf der Spur sind die Teilnehmer dieser Radio Jazz Research-Tagung, die ganz unterschiedliche Themen zu „Jazz und Film“ präsentiert: Neben „Short Movie“-Formaten der späten 1920er und ’30er Jahre wird die Hilfestellung visueller Quellen bei der Transkription improvisatorischer Strukturen diskutiert, zudem die Ideengeschichte der „Jazz“-Spielfilme skizziert. Als Begleitprogramm zur Tagung „Jazz und Film“ werden historische und aktuelle Jazz-Filme gezeigt. Radio Jazz Research e.V. mit Sitz in Köln ist im Jahr 2006 auf dem moers festival von namhaften Musikwissenschaftlern, Jazz-Veranstaltern, -Radio- und -Print-Journalisten gegründet worden. Zweck des Vereins ist es, den Informations- und Meinungsaustausch zum Thema Jazz zu ermöglichen und zu fördern sowie als Informationsmittler in der Öffentlichkeit zu wirken. Ziel ist es, die Bedeutung der Jazzmusik in den deutschsprachigen Ländern zu erhalten und zu verbreiten und Öffentlichkeitsarbeit für das Genre Jazz zu leisten. Der Club Count Davis, seit März 2007 an der Landstraße in Linz, hat eine neue Linie in das Linzer Jazzleben gebracht. Der Ort dient als Plattform ebenso für den internationalen Konzertreigen wie für die heimische (Nachwuchs-)Szene. Im Juni 2009 ist das Count Davis Zentrum der Arbeitstagung von Radio Jazz Research e.V. Konzept: PD Dr. Bernd Hoffmann für Radio Jazz Research
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10. Diskografentag MOTTO : MENSCHEN – MUSIK ……und MATRIZEN Sehr geehrter Schallplatten- oder Grammophonsammler, kennen Sie schon die GHT (Gesellschaft für historische Tonträger, Wien)? Falls nicht, empfehle ich Ihnen die Adresse http://www.phonomuseum.at/. In der GHT haben sich eine Reihe von Diskografen und ernsthaften Sammlern zusammengeschlossen, um das Thema (Schellack-)Schallplatten mit wissenschaftlichem Hintergrund aufzuarbeiten. Dazu gehört die enge Zusammenarbeit mit der IASA und anderen internationalen Institutionen, wie z. B. dem Sokrates/Grundtvig-Programm der Europäischen Union. Die GHT veranstaltet regelmäßig „Diskografentage“, die als ein- oder mehrtägige Kongresse den fachlichen Austausch der Mitglieder und weiterer Interessenten ermöglichen sollen. In diesem Jahr steht der 10. Diskografentag unter dem Motto „Menschen – Musik … und Matrizen“. Er findet diesmal in Hildesheim vom 14.05.2009 bis 16.05.2009 statt. Nach zwei erfolgreichen Diskografentagen in Immenstadt/Allgäu haben wir in diesem Jahr Hildesheim als Veranstaltungsort im Norden Deutschlands gewählt. Bei den bisherigen Veranstaltungen dieser Art, die regelmäßig seit 2001 durchgeführt werden, haben jeweils zwischen 30 und 60 Teilnehmer aus ganz Europa teilgenommen. In diesem Jahr veranstalten wir bereits den zehnten Diskografentag. Dies ist für uns ein Anlaß, Ihnen ein ganz besonders vielseitiges Programm zu bieten. Unter dem Motto „Menschen – Musik … und Matrizen“ werden wir uns wieder mit Musikern, ihren Darbietungen und diskografischen Themen beschäftigen. Anläßlich des 95. Geburtstags von Horst Winter haben wir seine Witwe, Frau Dorothea Winter zu Gast, die uns den Menschen Horst Winter vorstellen wird. Selbstverständlich präsentieren wir auch die neuesten Ergebnisse unseres internationalen Forschungsprojekts „The Lindström Project“, in dem wir die Geschichte dieses einst so bedeutenden Medienunternehmens aufarbeiten. Die Veranstaltung wird in deutscher und englischer Sprache abgehalten (mit schriftlicher Zusammenfassung in der jeweils anderen Sprache). Den geplanten Ablauf des Diskografentags können Sie der PDF-Datei im Anhang entnehmen, sowie auf der Webseite der GHT http://www.phonomuseum.at/ nachlesen. Dort finden Sie auch die Möglichkeit, sich für die Teilnahme anzumelden. Bitte beachten Sie auch unser neues Diskussionsforum im Internet, das Sie über unsere Webseite erreichen. Bei weiteren Fragen zur GHT und zu den Diskografentagen wenden Sie Sich bitte an die Präsidentin der GHT, Fr. Mag. Christiane Hofer (office@phonomuseum.at).
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CALL FOR PAPERS: March 1, 2009 Deadline Lex Non Scripta, Ars Non Scripta: Improvisation is an important art form and an artistic and cultural phenomenon – a manner of speaking, a way of being, and a realm of experience. For theorists, improvisation as a practice and as an idea raises questions not just about how law comes to describe, judge, and regulate improvisation, but the converse – how improvisation might describe, judge, and regulate the law. What does or should law tell us about improvisation? What does or should improvisation tell us about law? For intellectual property, ars non scripta is a challenge and confrontation to legal orthodoxy. Does the alternative paradigm of sharing provide a better set of governance options in the creative realm? What other models might serve the purpose of respecting the art in and of improvisation better? For legal theory, lex non scripta is likewise a challenge and confrontation to orthodoxy. Perhaps all art is improvised. Perhaps all law is too. Or perhaps we have lost something that once we knew about the relationship between meaning and silence, prescription and invention, justice and law. Improvisational art practices are also deeply anchored in assorted social constructions that one might think a just and civil society should protect and encourage. Do we have a right to improvise and might we improve our rights? Can improvisation be seen as a context within which new forms and relations of social justice might be modeled? Proposals for papers are invited on these or related themes for an international, interdisciplinary conference on "Law, Justice and Improvisation," to be held at McGill University in Montreal, Quebec, Canada, on June 21 and 22, 2009. Possible topics might include:
Proposals should include a title, the name and affiliation of the author, and an abstract of 150-200 words. Please send proposals by March 1, 2009 to David Lametti (david.lametti@mcgill.ca) or Tina Piper (tina.piper@mcgill.ca). Proposals are particularly encouraged from graduate students working in a variety of disciplines on and around these themes; conference funds will be made available to subsidize their participation. The conference is hosted under the auspices of the Improvisation, Community and Social Practice project (www.improvcommunity.ca), a Major Collaborative Research Initiative of the Social Sciences and Humanities Research Council of Canada. It is supported by the Suoni per il Popolo Music Festival, the McGill Centre for Intellectual Property Policy (www.cipp.mcgill.ca) and the Faculty of Law at McGill. Please address all inquiries to david.lametti@mcgill.ca or tina.piper@mcgill.ca.
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One day symposium, Tours, April 15, 2009 With a support from the Agence Nationale de la Recherche, Universities of Bourgogne (Dijon), François-Rabelais (Tours) and Paris-Sorbonne Paris-IV are partners for a project of writing a history of jazz in France. Part of this research are three meetings organized with a view to the publishing of two books in 2011. Two symposiums are organized in Tours (April 2009) and Paris (December 2009), and one international conference will be held in Dijon, spring 2010. The coordination of this project is carried out by Vincent Cotro (Tours), Laurent Cugny (Paris IV) et Philippe Gumplowicz (University of Bourgogne). The first one day symposium about to be held in Tours, April 2009, aims for an initial outline of research themes related to the history of jazz in France. A disciplinary approach is wished : musicology, history, sociology, economy, anthropology, social psychology, psychoanalysis… The following topics (non restrictive list) are as following :
Send title and abstracts to Vincent Cotro (vincent.cotro@univ-tours.fr). Deadline : March 1, 2009.
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Leeds International Jazz Conference 2009: The Word on Jazz: critical writing and the relationship of jazz with the Media and Academe Thursday 26 – Friday 27 March 2009 Leeds International Jazz Conference 2009 takes place at Leeds College of Music from Thursday 26 to Friday 27 March. LIJC is an annual event focusing on jazz research, education and performance. It is the only conference of its kind in the UK, offering a unique forum to hear some of the latest sounds and ideas in jazz, as well as opportunities for discussion and networking, information exchange and professional development. For the 15th LIJC we are delighted to welcome the acclaimed jazz scholar, writer and broadcaster Stuart Nicholson as the keynote speaker. Professor Nicholson’s output, described by the music critic, Ned Rorem, as ‘Intelligent, well written and maddeningly thorough’ has been translated into twelve languages. His books include: Jazz: The Modern Resurgence (1990) reprinted in the US as Jazz: the 1980s Resurgence; prize-winning biographies of Ella Fitzgerald (1993), Billie Holiday (1995), and Duke Ellington (1999); Jazz-Rock: A History (1998); The Guitar In Jazz (1999); and the controversial Is Jazz Dead (Or Has It Moved To A New Address)? (2005). Stuart Nicholson has contributed to: The Essential Jazz Records Vol. 2 (1999); The Cartoon Music Book (2002), Future Jazz (2002), The Cambridge Companion to Jazz (2003), and The Encyclopaedia of the Harlem Renaissance (2005). The Early Booking Rate is available until Friday 13 February.
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Powerplay: Improvisation and Sport CALL FOR PAPERS — PLEASE DISTRIBUTE FREELY Power Play: Improvisation and Sport Many improvising musicians who are fans of a variety of sports, including hockey and basketball, have identified parallels and synergies between athletic pursuit and contemporary creative music, such as the discourse of rules, set formations and plays, along with an improvisational or“thinking on your feet” approach to playing games. Miles Davis, for example, was an avid boxer and swimmer, and the poet Quincy Troupe has examined the connections between basketball and the drumming of Roy Haynes, while John Zorn uses sport-based systems in his game compositions such as Lacrosse or Archery. The symposium Power Play: Improvisation and Sport — presented by Coastal Jazz in conjunction with the Time Flies Improvised Music festival — will provide artists, academics, athletes and fans an unprecedented opportunity to investigate ways in which both athletes and performers utilize improvisation when they “play.” We invite proposals for presentations on the many intersections of sport and improvisation. Essays can range from theoretical to practical, from aesthetic to political in their aims and methods, and interdisciplinary work is both welcome and encouraged. We are especially interested in provocative, informed work that deals with improvisation in as unlimited a sense as possible. Submissions are invited from both academic and non-academic writers and critics. Topics may include, but are not limited to, the many aspects of the cross-over between sport and musical pursuits: the identification of national cultural signifiers intrinsic to sport and music; the exploration of how signifiers are manifest in national protocols of training, teamwork, sportsmanship, rivalry and cultural aesthetics; the place of the body and human kinetics in improvised performances; improvisation, dance and theatre sports; music in sport — improvising along with the crowds; game-theory and improvisation; improvisation and power — sport as discourse; sport as cultural or social pedagogy; improvisation, sports and the law; bioethics and improvisation; the gender politics of play. The symposium will be presented at the Irving K. Barber Learning Centre at the University of British Columbia on February 6 and 7, 2009, as part of the Major Collaborative Research Initiative “Improvisation, Community and Social Practice,” funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), the University of British Columbia Department of English, and Coastal Jazz. Please submit conference-paper proposals of no more than 500 words — finished papers should conform to a 20 minute delivery — by December 7, 2008 to Dr. Kevin McNeilly, mcneilly@interchange.ubc.ca or Dr. Julie Smith, julie@coastaljazz.ca. Notification of acceptances will be given by December 14, 2008
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Denver, Colorado, 5. - 7. December 2008 International Society for Improvised Music Third Annual Conference "Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age" Keynote Address – Roscoe Mitchell When Charlie Parker stated that "if you don't live it, it won't come out of your horn," he conveyed, in his inimitable way, the capacity of improvisation to serve as a vehicle for integrating the totality of influences that shape personal and social identity. From class, culture, economics, and ecology to gender, race, sexuality, and spirituality; improvising musicians spontaneously meld these and other aspects of their being in expressions that serve as both profound personal and collective commentaries. In an era in which unprecedented levels of superficiality, alienation, and violence often overshadow a growing interest in creative and transpersonal development, and where an ever-escalating morass of data threatens to engulf a genuine cross-fertilization between disciplines and cultures; the importance of a creative vehicle for accessing and expressing one's inner and outer worlds has never been greater. Improvisation not only excels in this regard, it also—through the very moment-to-moment decision-making sequences that require individuals to penetrate beyond ordinary patterns of behavior—may exemplify the dissolution of provincial and nationalistic tendencies that divide communities and countries in our politically fragile world. Improvisation, in fact, may be the ultimate lens through which the quest for self and community is revealed to be as much a collective as a personal endeavor. The International Society for Improvised Music invites proposals related to the above theme for performances, papers, workshops, and other presentations for its third annual conference. The theme may be construed broadly: it is compatible across wide-ranging approaches to improvised performance, it invites wide-ranging pedagogical applications, and suggests connections to wide-ranging, cross-disciplinary areas. ISIM is committed to diversity in its programming. Deadline for proposals: September 1, 2008 ISIM Conference 2008 Proposal Form available at www.isimprov.org As with prior conferences, applications will only be reviewed from current ISIM members. New members may submit membership application with conference proposal. For more information contact Sarah Weaver, ISIM Conference Director, sarah@isimprov.org 734-277-2690
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Philadelphia, Pennsylvania, 30. October - 1. November 2008 "Brownie Speaks". The University of the Arts to Host a Symposium Celebrating Clifford Brown. "Brownie Speaks" Will Examine the Life, Music and Legacy of the Influential Trumpeter Jazz aficionados, musicians and educators will gather at The University of the Arts (UArts) in Philadelphia on October 30-November 1 for Brownie Speaks, a symposium celebrating and documenting the life, music, and legacy of Clifford Brown, the influential jazz trumpeter who died in 1956 when he was just 25. The Philadelphia Music Project, a program of the Philadelphia Center for Arts and Heritage, funded by The Pew Charitable Trusts and administered by The University of the Arts, is sponsoring the symposium. The three-day event will feature performances by Terence Blanchard, Benny Golson, Lou Donaldson, Marcus Belgrave, the UArts Jazz Ensembles and many others. A new John Fedchock composition dedicated to Clifford Brown will be performed by the Lars Halle Jazz Orchestra. Brownie Speaks: A Video Documentary, produced by UArts School of Music faculty member, composer, pianist, and recording artist Don Glanden, will premiere at the symposium. Brown's son, Clifford Brown Jr. will serve as master of ceremonies for the duration of the symposium. A Call For Papers The focus of the symposium is the presentation, celebration, and documentation of the life, music, and legacy of Clifford Brown. His creative contribution will be explored in terms of its historical-sociological context, and its lasting impact on the jazz aesthetic. Papers should address some aspect of the symposium's focus. This may range from musical analysis to the presentation of new historical or sociological perspectives. Proposals for panel discussions will also be considered. Guidelines and deadline for abstract submission: send a one-page abstract to Marianne Mele at mmele@uarts.edu or fax 215/717.6127. Abstracts must be received by Monday, July 28, 2008. Decision notification will be made no later than Friday, August 1, 2008. The final version of selected papers must be submitted by October 1, 2008. Presentations should be approximately 30 minutes long with an additional 20 minutes planned for discussion and Q&A.
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Datum: 11. bis 13. September 2008 Ort: Schönes Haus (Nadelberg 6, Basel) und the bird's eye jazz club (Kohlenberg 20, Basel) Veranstalter: Veit Arlt, Koordinator, Zentrum für Afrikastudien Basel und Colin Miller, Projektleiter, Pro Helvetia Kapstadt Thema: 2008 feiert die Aussenstelle der Schweizer Kulturstiftung Pro Helvetia in Kapstadt ihr zehnjähriges Bestehen. Im Verlauf dieses Jahrzehnts hat sie über 500 Projekte realisiert und KünstlerInnen aus dem südlichen Afrika und der Schweiz zusammengebracht. Einer der Schwerpunkte in dieser Zusammenarbeit ist die Projektarbeit im Bereich Musik, insbesondere Hip Hop und Jazz. In diesem öffentlichen Symposium diskutieren KünstlerInnen, VeranstalterInnen, MusiklehrerInnen und AkademikerInnen über Trends und Hintergründe der Musik, sowie die Erfahrungen und Chancen von Austausch und Zusammenarbeit. Kontext: Es ist kein Zufall, dass diese Veranstaltung an der Universität Basel stattfindet. Die Universität ist ein Zentrum der Afrikaforschung und das Leading House für die bilaterale Forschungszusammenarbeit mit Südafrika. Als einzige Universität der Schweiz bietet sie einen interdisziplinären Master-Studiengang „Afrikastudien“ an. Das 2001 gegründete Zentrum für Afrikastudien Basel (ZASB) arbeitet regelmässig mit Pro Helvetia Kapstadt zusammen. Die Präsenz von Kunstschaffenden aus dem südlichen Afrika in Basel ist eine wichtige Ergänzung zum akademischen Angebot und bietet immer wieder fruchtbare Möglichkeiten für Kooperation und Austausch. Rahmenprogramm: Das Symposium wird umrahmt von zwei Konzerten des Swiss South African Jazz Quintet, einer Hip Hop Performance und einem Filmabend zum Thema Hip Hop in Südafrika. Zahlreiche weitere Konzerte mit Hip Hop und Jazz basierend auf Austauschprojekten von Musikern aus dem südlichen Afrika und der Schweiz finden im August und September in Aarau, Bern, Chur, Genf, Luzern und Zürich statt Eine Veranstaltung im Rahmen des Jubiläums 10 Jahre Pro Helvetia Kapstadt Weitere Auskünfte: Veit Arlt, Zentrum für Afrikastudien Basel, T. +41 (0)61 267 34 82, M. +41 (0)79 753 68 31, veit.arlt@unibas.ch (abwesend vom 17.-24. August 2008, dringende Anfragen können in dieser Zeit per SMS übermittelt werden)
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Guelph
Jazz Festival Colloquium, September 3-5, 2008 Call for Papers Diaspora, Dispersal, Improvisation, and Imagination The Guelph Jazz Festival, in conjunction with the Macdonald Stewart Art Centre, the University of Guelph, and the SSHRC MCRI research project on “Improvisation, Community, and Social Practice,” invites proposals for papers to be presented at our annual three-day international interdisciplinary conference. This year's colloquium will take place September 3-5 as part of the 15th annual Guelph Jazz Festival (September 3-7). It will bring together a diverse range of scholars, creative practitioners, arts presenters, policy makers, and members of the general public. Featuring workshops, panel discussions, keynote lectures, performances, and dialogues among researchers, artists, and audiences, the annual colloquium cuts across a range of social and institutional locations and promotes a dynamic international exchange of cultural forms and knowledges. This year's colloquium also takes place on the heels of our inaugural Summer Institute for Critical Studies in Improvisation at the University of Guelph (www.improvcommunity.ca/summerinstitute). We seek studies of dispersed and diasporic peoples that focus on how they use improvisation and imagination to maintain links with their lands of origin, to connect culturally and politically with other groups, to build communities out of cultural collisions and coalescences, and to turn exile into an art. We are especially interested in studies of how Brazilian identity and culture are lived outside of Brazil and studies of Afro-diasporic peoples in metropolitan centers like New Orleans, Montreal, and Toronto. Yet we also seek presentations about improvisation and imagination among any group of people outside their place of origin who use improvisational expressive culture as a means of calling communities into being, as a repository of collective memory, as a response to (and expression of) communities in crisis, or as a site for moral instruction and inspiration. We are particularly interested in papers that cut across communities of interest and involvement and that speak to both an academic audience and a general public. We also encourage presenters to submit completed versions of their papers to our peer-reviewed journal, Critical Studies in Improvisation/Études critiques en improvisation (www.criticalimprov.com) for consideration. Please send (500 word) proposals or completed papers (for 15 minute delivery) and a short bio by May 31, 2008 to The 2008 Guelph
Jazz Festival Colloquium,
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Konferenz
„Jazz hinter dem Eisernen Vorhang“ / “Jazz behind
the Iron Curtain“ Call for Papers (english version) Projekt “Widerständigkeit durch Kulturtransfer – Jazz im Ostblock’“ am Osteuropa-Institut der FU Berlin Leitung: Prof. Dr. G. Pickhan, Koordination: Dr. Rüdiger Ritter DEADLINE: 1.4.2008 Informationen und Vorschläge an Dr. Rüdiger Ritter, RRitter@gmx.de Ziele der Konferenz Musik der Freiheit und Demokratie, der Modernität sowie Symbol des american way of life – dies sind die zentralen Elemente eines Mythos, der den Jazz seit seiner Entstehung umrankt und insbesondere in den staatssozialistischen Gesellschaften Ostmitteleuropas nach 1945 virulent wurde. Insider der Szene schreiben dem Jazz eine wichtige Rolle im Widerstand gegen die staatssozialistische Ordnung zu. Hier muss jedoch differenziert werden: Formen politischen, zielgerichteten Widerstands lassen sich im ostmitteleuropäischen Jazz kaum beobachten. Aber bereits auf den ersten Blick so „unpolitische“ Erscheinungen wie simple Spiel- und Improvisationsfreude oder die Existenz einer vom Regime schwer zu kontrollierenden Jazz-Szene machten den Jazz und sein Umfeld im Ostblock unweigerlich zu einem Politikum ersten Ranges, das zudem durch die Verbindung des Jazz mit seinem Ursprungsland geprägt wurde: Der Transfer US-amerikanischer Kulturformen bewirkte eine ideelle Stärkung oppositioneller Kreise; dies wiederum nutzen US-amerikanische Propagandaoffiziere aus und machten den Jazz ihrerseits zu einer politischen Waffe im Kalten Krieg. Die Konferenz wendet sich
sowohl an Sozial- als auch an Musikwissenschaftler, die sich mit Jazz
und jazzverwandter Musik und seiner gesellschaftlichen Wirkungen in
den staatssozialistischen Gesellschaften des östlichen Europa nach
dem Zweiten Weltkrieg Die Konferenz wird getragen
von einem am Osteuropa-Institut der FU Berlin angesiedelten und von
der Volkswagen-Stiftung geförderten Forschungsprojekt zum „Jazz
im Ostblock“ unter der Leitung von Prof. Dr. Gertrud Pickhan (Projektkoordination:
Dr. Rüdiger Ritter). Sie soll Anstoß geben zur Intensivierung
der Forschung zur Funktionsweise staatsozialistischer Gesellschaften
aus einer bislang aus wissenschaftlicher Sicht noch kaum in Angriff
genommenen Perspektive. Unmittelbares Ziel ist daher eine Bestandsaufnahme
der gegenwärtigen Arbeiten zur gesellschaftlichen Funktion des
Jazz als Ausgangspunkt für Mögliche Themen (nicht ausschließlich):
Erwünscht sind Vorschläge sowohl zum Jazz in einem als auch vergleichende Arbeiten in zwei oder mehreren Ländern des ehemaligen „Ostblocks“; auch aussagekräftige Vergleiche zwischen „West“ und „Ost“ sind willkommen. Aufgenommen werden auch Beiträge, die methodische Probleme diskutieren, sowohl von sozialwissenschaftlicher als auch von musikwissenschaftlicher Perspektive aus. Konferenzsprache ist Englisch. Bitte senden Sie Ihre Vorschläge bis zum 1. 4. 2008 per e-mail als Word-Dokument (ca. 1 Seite) sowie einen kurzen CV an: Dr. Rüdiger Ritter, RRitter@gmx.de. Über die Auswahl erhalten Sie bis zum 1.5.2008 eine Nachricht. Eine Publikation ausgewählter Beiträge der Konferenz in einem Sammelband ist geplant.
Call For Papers Project “Widerständigkeit durch Kulturtransfer – Jazz im Ostblock’“ Institute for Eastern-European Studies FU Berlin Leitung: Prof. Dr. G. Pickhan, coordination. Dr. Rüdiger Ritter DEADLINE: 1 April 2008 Please email your suggestions (approx. one page) and a brief CV as Word documents by 1 April 2008 to Dr. Rüdiger Ritter at RRitter@gmx.de. We will inform you of our selections by 1 May 2008. Conference Aims The music of freedom, democracy and modernity as well as a symbol of the American way of life – these are the central elements of a myth that has surrounded jazz since its inception, and which became influential particularly in the state socialist societies of East-Central Europe after 1945. Scene insiders accord jazz an important role in resisting the state socialist order. We need to differentiate here: Forms of targeted political resistance are scarcely to be found in East-Central European jazz. Even at first glance, however, such “apolitical“ phenomena as the simple joy of playing and improvisation or the existence of a jazz scene that was difficult for the regime to control necessarily made this music and its environment a political factor of the first rank, which was also shaped by the connection of jazz to its country of origin. The transfer of U.S. American cultural forms helped to bolster oppositional circles intellectually, which in turn was exploited by U.S. American propaganda officers who made jazz a political weapon in the Cold War. The conference is directed at historians, scholars in the field of cultural studies, sociologists and musicologists who are working on jazz and related music and its social impact in the state socialist societies of Eastern Europe after the Second World War. The aim is to describe the efficacy paradigms of jazz in state socialism. The conference is being organised by a research project on “Jazz in the Eastern Bloc” based at the Institute for Eastern European Studies of the Free University of Berlin and funded by the Volkswagen Foundation. The project is under the direction of Prof. Gertrud Pickhan, (project coordinator: Dr. Rüdiger Ritter). It is intended to inspire more intensive research on the functioning of state socialist societies from a viewpoint that scholars have largely neglected up until now. The immediate aim is thus to take stock of current work on the societal function of jazz as a point of departure for further research. A selection of the contributions will be published. Possible topics (by no means exhaustive):
We encourage suggestions for papers on jazz in an individual country as well as on comparative work about one or more countries of the former “eastern bloc”; relevant “East-West” comparisons are also welcome. We are also interested in contributions that discuss methodological issues from both social scientific and musicological perspectives. The conference language will be English. We plan to publish selected papers in a conference volume. Address to:
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Jazz:
Places & Spaces Thursday 13 - Saturday 15 March 2008 Leeds International Jazz Conference is an annual event focusing on jazz research, education and performance. It is the only conference of its kind in the UK, offering a unique forum to hear some of the latest sounds and ideas in jazz, as well as opportunities for discussion and networking, information exchange and professional development. LIJC 2008 will take place at Leeds College of Music from Thursday 13 to Saturday 15 March. We are delighted to welcome Professor Ingrid Monson as the keynote speaker for the event. Professor Monson is the Quincy Jones Professor of African American Music at Harvard University, supported by the Time Warner Endowment. Prof. Monson won the Sonneck Society's 1998 Irving Lowens Prize for the best book on American music for Saying Something, Jazz Improvisation and Interaction (1996). Her most recent work is on Freedom Sounds: Jazz, Civil Rights, and Africa, 1950-1967, (2005). She is also editor of The African Diaspora: A Musical Perspective (2000). The
conference programme will encompass paper presentations, workshops,
performances and discussions under the overarching theme of Jazz
Places and Spaces. Whilst the classic triumvirate of places -
New Orleans, Chicago and New York - has become well established
through the Call
for Papers
Individual presentations should be no more than twenty minutes in duration. There may be opportunities for longer slots for lecture recitals. roposals for panels should include details of each presenter/paper to be included. Proposals should take the form of a title followed by an abstract of not more than 200 words. The deadline for submissions is Monday 26 November 2007, and decisions will be notified shortly after this date. Submissions
should be addressed to:
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John
Coltrane (1926-1967): the Work and its Legacy Organisation: Scientific
Committee: Jazz’s recent evolutions invite musicologists to interrogate two essential phenomena: 1) the fragmented heritage of free jazz as the ultimate and clearly identifiable current in an inexorable succession of schools and styles since the 20s; 2) the stubborn and multifaceted re-emergence of jazz’s past as the necessary condition of its present (re-editions, tributes, postmodernist experiments, …). John Coltrane’s place in the history of jazz can be considered from these two points of view. If major musicians like Sonny Rollins or Ornette Coleman are still active today, Coltrane is currently identified as the last of jazz’s “historic masters," the ultimate repository of its modernity. Tributary of a tradition that goes back to Swing, and then to Bebop (through the influence of Johnny Hodges and Charlie Parker), Coltrane nonetheless remains at the heart of free jazz, a music that he inspired and that nourished him in his last years. This double positioning, that does not preclude other approaches, allows us to see in John Coltrane’s personality, his work and influence, essential keys to understanding contemporary jazz. The upcoming publication in French of Lewis Porter’s monograph (John Coltrane, His Life and Music, University of Michigan Press, 1998) will coincide with the 40th anniversary of the musician’s death. Papers will be organized along the following five headings (whose content and formulation might evolve depending on the papers that are finally accepted). 1.
Research on Coltrane: biography, discography, unedited tapes, etc. A concert will be organized during this two-day event with the saxophonist Dave Liebman and pianists Andy LaVerne and Lewis Porter (program might be subject to change). One-page abstracts, with a short biography and a list of recent publications, must be returned by email or snail mail before May 20th, 2007 to:
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No Time for Losers. Kanonbildungen in der populären Musik 2. bis 4. November 2007, Bildungs- und Tagungsstätte Ostheide, barendorf bei Lüneburg Kontakt: ASPM e.V.
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10.
Darmstädter Jazzforum "Begegnungen - The World Meets
Jazz" (2008) Das mittlerweile 10. Darmstädter Jazzforum befasst sich mit dem Thema "Begegnungen – The World Meets Jazz". Dabei geht es um die Tatsache, dass der Jazz von Anfang an eine produktive Musik war, dass Musiker in aller Welt, die sich ihm zuwandten, seine Wurzeln als afro-amerikanische Musik genauso kennen und respektieren mussten wie sie aufgefordert waren, ihre eigene Traditionen mit einzubringen. Beim Jazzforum geht es also nicht so sehr um "Weltmusik" an sich als vielmehr um diese produktive Auseinandersetzung mit den Traditionen, um die Tatsache, dass der Jazz mittlerweile jede Menge Impulse aus anderen Ecken der Welt erhält, die ihn als ihre ganz eigene Musik begreifen. In Referaten und Diskussionen sollen unterschiedliche Annäherungen, Adaptionen oder Adoptionen näher beleuchtet werden. Oft handelt es sich dabei ja um Ideen, die zwar aus ethnischen Musikrichtungen stammen, aber mit der Spielhaltung des Jazz so hervorragend harmonieren, dass es schwer fällt, die musikalischen Ergebnisse noch unter gängigen Genrebegriffen abzulegen. Weder handelt es sich bei ihnen nämlich wirklich um "Weltmusik", noch ist es Mainstream-Jazz im herkömmlichen Sinne. Es ist ein kreativer Austausch, der den Jazz verändert, egal ob einem das gefällt oder nicht. Beim Jazzforum wollen wir beobachten, analysieren, kritisch unsere eigene Haltung hinterfragen. Zum Hinterfragen haben wir Theoretiker wie Praktiker eingeladen, Musikwissenschaftler, Historiker, Journalisten, Musiker, um die unterschiedlichen Seiten des Themas zu beleuchten. Am Donnerstag klopft Andrew Hurley Joachim Ernst Berendts legendäre Plattenreihe "Jazz meets the World" auf die Wahrheit des Titels ab: "But did the World meet Jazz". Maximilian Hendler schaut auf alternative Entwicklungen zur Jazzgeschichte und deckt dabei auf, dass das Thema der Begegnung schon weit vor Berendt ein ganz wichtiges war. Torsten Eßer wird die Jazzentwicklung in Lateinamerika unter die Lupe nehmen, und dabei sicher auch die Frage nach dem Verhältnis der vielen kleinen Brüder mit ihrem großen Bruder stellen, der sich gern alles vereinnahmend einfach als "Amerika" bezeichnet. Der Freitag ist den Case Studies vorbehalten, also konkreten Beispielen aus der Musik selbst. Im Mittelpunkt stehen die Trompeter Tomasz Stanko, Enrico Rava und Harry Beckett (Wolfram Knauer), John Zorn und Japan (Günther Huesmann), Flamenco Nuevo und afro-amerikanischer Jazz (Gerhard Putschögl), Jazz im Senegal (Timothy Mangin), sowie der Schmelztiegel Berlin (Silvia Kurschus). Am Samstag geht es um die ästhetische Seite der kulturellen Verflechtungen in der jüngsten Gegenwart (Harald Justin) und um diverse Ansätze, arabische Traditionen und Jazzimprovisation miteinander zu verbinden (Ralf Dombrowski). Zwei Musiker werden am Nachmittag ihre Sicht der Dinge vorstellen: der israelische Saxophonist, Autor und streitbare Verfechter eines Friedens zwischen Israelis und Palästinensern Gilad Atzmon, sowie Karl Berger, der in den 60er Jahren mit Don Cherry in die USA ging und in Woodstock das Creative Music Studio gründete, das schon früh über die Grenzen des herkömmlichen Jazzbegriffs hinwegblickte. Zusammenfassendes und Selbstkritisches zum Schluss: Martin Pfleiderer wird nach drei Tagen voller Referate und Diskussionen fragen, was den Jazz im Zeitalter der Globalisierung eigentlich noch ausmacht. Und da Vorträge allein zwar anregend, aber irgendwie auch recht trocken sind, haben wir ein begleitendes Konzertprogramm organisiert, das sehr unterschiedliche Seiten der angerissenen Thematik beleuchten soll. Karl Berger wird im Sextett mit Steven Bernstein und anderen den "Spirit of Don Cherry" wiederaufleben lassen. Die Berliner Band Cyminology, heißt es, spiegele die multikulturelle Gesellschaft in Deutschland wider – in den Biographien der Bandmitglieder auf jeden Fall, aber auch in den auf Farsi vorgetragenen Texten der Sängerin Cymin Samawatie. Gilad Atzmons Oriental House Ensemble reflektiert durch die Brille des Jazz auf chassidischen Klezmer genauso wie auf andere musikalische Traditionen des Nahen Ostens. Am letzten Abend ist Ben's Belinga mit seinem Quartett zu hören. Den Saxophonisten bezeichnete die westafrikanische Musiklegende Manu Dibango als seinen legitimen musikalischen Nachfolger. Belinga spielt mit an Rollins und Coltrane orientiertem Ton und verbindet afro-karibische und westafrikanische Rhythmik und Harmonik mit der Komplexität des Jazz
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Jazz in the Global Imagination: Music, Journalism, and Culture (2007) Saturday,
September 29, 2007 The Jazz Journalists Association is pleased to announce its participation in “Jazz in the Global Imagination: Music, Journalism, and Culture,” an international conference of jazz journalists presented by Columbia University’s Center for Jazz Studies, 9 a.m. to 9 p.m. on Saturday, September 29, 2007, in the Lecture Hall of the Columbia University Graduate School of Journalism 2950 Broadway (at 116th St.) in New York City. The main event is free and open to the public. The conference – first ever in the United States to gather senior, mid-career and emerging jazz-oriented media professionals from around the world in discussions of topics focused on globalization and new technologies – includes six panel discussions as well as a JJA reception (invitees only) on Friday, September 28 and a send-off brunch Sunday, September 30. Details will be posted at www.Jazzhouse.org, website of the JJA. The JJA also will hold a real- time, globally interactive blog from and about the conference at www.Jazzhouse.org, and is currently investigating webcasts of the panels. Thirty-two
jazz journalists from Canada, China, France, Germany, Italy,
Japan, Mexico, Russia, South Africa, Sweden and Turkey besides
the United States will speak in the moderated 90-minute sessions
on “The Global and the Local,” “Systems of
Production and Consumption,” “Globalizing the Personal,”
“New Music, New Aesthetics,” “Journalism and
History,” and “Jazz in the Global Imaginary,”
The conference is curated by George E. Lewis, Edwin H. Case
professor of music at Columbia University director of the Center
for Jazz Studies, in close consultation with JJA president Howard
Mandel. Mandel is author of Miles, Ornette, Cecil – Jazz
Beyond Jazz, to be published this fall by Routledge, adjunct JJA members participating include Seda Binbasgil (Turkey), Alain Derbez (Mexico), James Hale (Ottawa), Ashante Infantry (Toronto), Francisco Martinelli (Italy), Cyril Moshkow (Russia), Kazue Yokoi (Tokyo) as well as Marcela Breton, Francis Davis, Gary Giddins, Don Heckman, Dan Morgenstern, Ron Scott, John Szwed and Ted Panken, all from the United States. Participants not officially unaffiliated with the JJA include Gwen Ansell (South Africa), Christian Broecking (Germany), Alex Dutilh (France), Andy Hamilton (UK), Patrik Landolt (Switzerland), Jason Lee (China), Alexander Pierrepont (France), Maxi Sickert (Germany), Bert Vuisje (Netherlends), Lars Westin (Sweden), and Jason Berry, June Cross, Stanley Crouch, Jennifer Odell, Ben Ratliff, Bill Shoemaker, Greg Tate, K. Leander Willliams and George Varga. Jazz in the Global Imagination: Journalists on Music and World Culture is the culminating event of the Columbia/Harlem Festival of Global Jazz, which takes place from Wednesday, September 19 through Saturday, Sept. 29, 2007. The Festival, which is presented by Columbia University's Center for Jazz Studies in partnership with Jazzmobile, Inc., and the Upper Manhattan Empowerment Zone, will feature leading national and international musicians, journalists, and scholars in performances, conferences, symposia, film screenings, and technology-based community events, all open to the public. For up-to-date information, please visit the Center for Jazz Studies website: http://www.jazz.columbia.edu. For further information about the JJA receptions, interactive global blog and panel webcasts, please visit www.jazzhouse.org. Media Contact: Anne Burt, 212-854-7884 ab2673@columbia.edu Center for Jazz Studies Contact: Dan Beaudoin, 212-851-1630, db2469@columbia.edu Jazz Journalists Association Contact: Howard Mandel, 212 -533-9495, hman@jazzhouse.org
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Lennie
Tristano Symposium A symposium on the life and music of Lennie Tristano will be hosted by the Worcester Polytechnic Institute (WPI) Music Division on APRIL 15, 2007 (Sunday). Panelists will include: Connie Crothers, Ira Gitler, Jimmy Halperin, Sal Mosca, Eunmi Shim, and Bud Tristano. This
program is free and open to the public, and will take place from
2-6pm at Alden Hall, WPI Campus (100 Institute Road, Worcester,
MA). Please contact: Richard Falco, Director of Jazz Studies, at rfaloc@wpi.edu, Tel. (508) 831-5794, or Eunmi Shim, Assistant Professor, at eshim@wpi.edu or eshim500@yahoo.com (508) 831-5695
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Time,
Sound, and Transcendence: Forging a New Vision for Improvised Music
Pedagogy and Practice The University of Michigan Ann Arbor, Michigan, Dec 1-3, 2006 Featured artists/speakers: Steve Coleman, Janne Murto, Stephen Nachmanovitch, Pauline Oliveros The increasingly eclectic nature of the musical landscape yields fertile ground for new approaches to improvised music performance and pedagogy. The term transcendence may help us navigate our way through this maze of possibilities: transcendence of boundaries between genres and ethnicities within an emergent trans-stylistic expanse; transcendence of old pedagogical patterns, where improvisation has been marginalized or excluded in musical study; transcendence of distinctions between "high" and "low" art in a more inclusive aesthetic sensibility; and transcendence as in the heightened states of consciousness that improvisers have long claimed to be central to their work. In short, improvisation possesses rich unitive and transformational qualities that can be harnessed in new musical and educational models that reflect the creative needs and potential of our times. In this inclusive spirit, the International Society for Improvised Music is happy to announce its first inaugural conference and invite proposals for performances, workshops, and papers from individuals involved in all kinds of improvised music. Submissions are welcome from artists/educators working in tradition-specific realms?e.g. Jazz, traditional Hindustani, European baroque, Arabic maqam?as well as in trans-stylistic approaches. Given the dearth of trans-stylistic approaches to improvisation pedagogy, proposals are welcome for hands-on workshops that present strategies in this regard. Deadline
for submissions: August 15, 2006 Prospective presenters must be ISIM members for their proposals to be considered. To download a proposal form online and to join ISIM visit www.isimprov.org. To request a proposal form or for more information contact info@isimprov.org. Ed
Sarath
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Sound and the City. Populäre Musik im urbanen Kontext 27. bis 29. Oktober 2006, Schloss Rauischholzhausen bei Marburg Auf der vom Arbeitskreis Studium Populärer Musik e.V. (ASPM) in Zusammenarbeit mit dem Institut für Musikwissenschaft und Musikpädagogik der Justus-Liebig-Universität Gießen veranstalteten Tagung wird die Rolle der Musik im urbanen Kontext gegenwartsbezogen und praxisnah diskutiert werden. Eingeladen sind Referenten aus einer Vielzahl von Disziplinen, die sich dem Themenkomplex "Stadt und populäre Musik" aus dem je eigenen Blickwinkel nähern: Musik- und Kulturwissenschaft, Stadtplanung, Kultur- und Sozialgeographie, Soziologie, Ethnologie, Freizeit- und Tourismusforschung und Stadtmarketing. Anhand ausgewählter Fallstudien beleuchtet werden ferner die Bedeutung regionaler Zentren für die Geschichte populärer Musik sowie die spezifischen sozialen und ökonomischen Verhältnisse, die zur Genese lokal verankerter resp. lokalisierbarer Stilrichtungen (Jazz aus New Orleans, Chicago Blues, detroit-Sound...) beigetragen haben. Kontakt:
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Gianluigi Trovesi (Analyse, Musik, Geschichte) Dozent: Stefano Zenni "Stefano Zenni is an Italian musicologist, teacher and artistic director of jazz concerts and is a SIDMA president. He is the author of highly praised books on Louis Armstrong and Herbie Hancock. Mr. Zenni writes for Musica Jazz and has contributed to The New Grove Dictionary of Jazz (forthcoming edition). He has received a Grammy nomination for liner notes on Charles Mingus' music. Zenni works for the Jazz programm on Radio Rai Tre, Italy." Ort:
Italienisches Kultur Institut, Köln Universitätstraße
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2006
Guelph Jazz Festival Colloquium The Guelph Jazz Festival, in conjunction with the Macdonald Stewart Art Centre and the University of Guelph, invites proposals for papers to be presented at our annual three-day international multidisciplinary colloquium. This year's colloquium will take place September 6-8 as part of the 13th annual Guelph Jazz Festival (September 6-10). It will bring together a diverse range of scholars, creative practitioners, arts presenters, policy makers, and members of the general public. Featuring workshops, panel discussions, keynote lectures, performances, and dialogues among researchers, artists, and audiences, the annual colloquium cuts across a range of social and institutional locations and promotes a dynamic international exchange of cultural forms and knowledges. Music, as Jacques Attali has argued in his pioneering book Noise, “is a tremendously privileged site for the analysis and revelation of new forms in our society.” Music exists, he tells us, to help us hear the sound of change. “It obliges us to invent categories and new dynamics to regenerate social theory, which today has become crystalized, entrapped, moribund.” Commenting explicitly on the prophetic force of post 1960s free jazz and improvised music, Attali argues that improvisatory music-making heralds the possibility of “new relations among people.” To what extent and in what ways might improvised creative practice foster a commitment to cultural listening, to a widening of the scope of community, and to “new relations” of trust and social obligation? If, following Henry Giroux, we understand pedagogy to be “the complicated processes by which knowledge is produced, skills are learned meaningfully, identities are shaped, desires are mobilized, and critical dialogue becomes a central form of public interaction,” then to what extent (and in what ways) might improvisational musical practices be understood as vital (and publically resonant) pedagogical acts which generate new forms of knowledge, new understandings of identity and community, new imaginative possibilities? How do the kinds of cultural (and pedagogical) institutions that present and promote jazz and improvised music shape our understanding of public culture, of memory, of history? We invite papers that address these questions and concerns, as well as papers that discuss any issues of jazz and musical improvisation in relation to questions of pedagogy. We are particularly interested in papers that cut across communities of interest and involvement and that speak to both an academic audience and a general public. A forthcoming special issue of our peer-reviewed online journal, Critical Studies in Improvisation/Études critiques en improvisation (www.criticalimprov.com) will be devoted to the theme of improvisation and pedagogy. Please send (500 word) proposals or completed papers (for 15 minute delivery) and a short bio by June 7th to: The
2006 Guelph Jazz Festival Colloquium,
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Freie Töne - Jazz in der DDR/Jazz in der Provinz Im Rahmen der
Eberswalder Jazztage veranstaltet der HochVier e. V. vom 26.-28.
Mai 2006 ein Seminar zum Thema: "Freie Töne - Jazz in
der DDR/Jazz in der Provinz". In Gesprächen mit Zeitzeugen
wie Joe Sachse, Herbert Flügge, Gruppen aus verschiedenen Orten,
Fans und Veranstaltern stehen die Jazzkultur in den größeren
Städten und in der Provinz, die Kulturpolitik, die Bedingungen
und Schwierigkeiten für Musiker, Veranstalter und Jazzfans
in der DDR im Mittelpunkt. Darüber wird diskutiert, ob und
was sich in der Jazzszene seit dem Mauerfall verändert hat
und ob der gegenwärtige Jazz noch eine Form von musikalischer
und künstlerischer Freiheit darstellt. An den Abenden besteht
natürlich die Möglichkeit an den Konzerten der Eberswalder
Jazztage (www.jazz-in-e.de.vu)
teilzunehmen.
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