Jazz Music in the Educational Institution: A Journey of Translation from the Periphery to the Heart of the Canon of Cultured Music in the West
Abstract This paper aims to conform a theoretical approach around the process of insertion and translation of jazz music into the canon of cultured western music, monopolized in a paradigmatic way by European classical music. Starting from a theoretical substratum formed in relation to polysystem theory, postulated by the Israeli researcher Itamar Even-Zohar, the synergies, conjunctures and conditioning factors underlying a movement of translation that has led to the change of consideration of a musical genre such as jazz, from a conception as marginal and minority music, associated with a specific socio-cultural context, to its recognition as one of the most avant-garde, refined and valued artistic expressions of Western culture are analysed.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
Bastien, D. T. y Todd, J. H. (1988). Jazz as a process of organizational innovation. Communication Research, 15(5), 582-602.
Blasius, L. D. (2001). Nietzsche, Riemann, Wagner: when music lies. En S. Clark y A. Rehding (Eds.), Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (pp. 93-107). Cambridge: Cambridge University Press.
Citron, M. (2000). Gender and the musical canon. Cambridge [England]; New York: Cambridge University Press.
Even-Zohar, I. (1979). Polysystem Theory. Politics Today: International Journal for Theory and Analysis of Literature and Communication, 1(1-2).
Even-Zohar, I. (1990a). Polysystem Studies. Poetics Today: International Journal for Theory and Analysis of Literature and Communication, 11(1).
Even-Zohar, I. (1990b). The Literary System. Poetics Today, 11(1), 27-44.
Fink, R. (1998). Elvis everywhere: Musicology and popular music studies at the twilight of the canon. American Music, 16(2), 135-179.
Gunderson, F. (2003). The African Diaspora: A Musical Perspective. New York, NY, USA: Routledge. Critical and Cultural Musicology, 3.
Hendricks, K. S. (2014). Changes in self-efficacy beliefs over time: Contextual influences of gender, rank-based placement, and social support in a competitive orchestra environment. Psychology of Music, 42(3), 347-365.
Levine, L. (1989). Jazz and American Culture. American Foklore Society, 102(4), 6-22.
Magee, J. (2007). Kinds of Blue: Miles Davis, Afro-Modernism, and the Blues. Journal Jazz Perspectives, 1(1), 5-27.
Marsalis, W. (2016). Jazz at the Lincoln center [en línea]. S. l.: jazz.org. Disponible en: http://www.jazz.org/history/. [Access: 22 de agosto de 2016].
Mellers, W. (1967). Stravinsky and Jazz. Tempo; Cambridge University Press, 81(1), 29-31.
Merchán Sánchez-Jara, J. F. (2014). Digital schola: music readers as learning/teaching tools. En ACM (Ed.), Proceedings of the Second International Conference on Technological Ecosystems for Enhancing Multiculturality, 1(1), 547-553.
Monson, I. (1995). The problem with white hipness: Race, gender, and cultural conceptions in jazz historical discourse. Journal of the American Musicological Society, 48(3), 396-422.
Porter, E. (2002). What Is This Thing Called Jazz?: African American Musicians as Artists, Critics and Activists (Music of the African Diaspora). Los Angeles: University of California Press.
Stempel, L. (2010). Showtime: a history of the Broadway musical theater. New York: WW Norton.
Thomas, G. (2002). The canonization of Afro-American literature. Callaloo, 25(1), 288-308.
Wagnleitner, R. (2009). Jazz, the Classical Music of Globalization en Satchmo Meets Amadeus. Wien: Trasatlantica.
Young, J. y Matheson, C. (2000). The Metaphysics of Jazz. The Journal of Aesthetics and Art Criticism, 58(2), 125-133.
Grabaciones discográficas
Various Artists (2011). Jazz: The Smithsonian Anthology. CD. Washington, D.C.: jazz, blues, ragtime.
Hall, J.; Desmond, P.; Baker, C. y Carter, R. (1975). Concierto. CD. Englewood Cliffs: Van Gelder Studio, Jazz.
Jarret, K. (1975). The Köln Concert. CD. Opera House, Cologne: Jazz. ECM.
The Hilliard Ensemble y Garbarek, J. (1994). Officium. CD. Propstei St. Gerold, Austria: Jazz, classical. ECM.
Blasius, L. D. (2001). Nietzsche, Riemann, Wagner: when music lies. En S. Clark y A. Rehding (Eds.), Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (pp. 93-107). Cambridge: Cambridge University Press.
Citron, M. (2000). Gender and the musical canon. Cambridge [England]; New York: Cambridge University Press.
Even-Zohar, I. (1979). Polysystem Theory. Politics Today: International Journal for Theory and Analysis of Literature and Communication, 1(1-2).
Even-Zohar, I. (1990a). Polysystem Studies. Poetics Today: International Journal for Theory and Analysis of Literature and Communication, 11(1).
Even-Zohar, I. (1990b). The Literary System. Poetics Today, 11(1), 27-44.
Fink, R. (1998). Elvis everywhere: Musicology and popular music studies at the twilight of the canon. American Music, 16(2), 135-179.
Gunderson, F. (2003). The African Diaspora: A Musical Perspective. New York, NY, USA: Routledge. Critical and Cultural Musicology, 3.
Hendricks, K. S. (2014). Changes in self-efficacy beliefs over time: Contextual influences of gender, rank-based placement, and social support in a competitive orchestra environment. Psychology of Music, 42(3), 347-365.
Levine, L. (1989). Jazz and American Culture. American Foklore Society, 102(4), 6-22.
Magee, J. (2007). Kinds of Blue: Miles Davis, Afro-Modernism, and the Blues. Journal Jazz Perspectives, 1(1), 5-27.
Marsalis, W. (2016). Jazz at the Lincoln center [en línea]. S. l.: jazz.org. Disponible en: http://www.jazz.org/history/. [Access: 22 de agosto de 2016].
Mellers, W. (1967). Stravinsky and Jazz. Tempo; Cambridge University Press, 81(1), 29-31.
Merchán Sánchez-Jara, J. F. (2014). Digital schola: music readers as learning/teaching tools. En ACM (Ed.), Proceedings of the Second International Conference on Technological Ecosystems for Enhancing Multiculturality, 1(1), 547-553.
Monson, I. (1995). The problem with white hipness: Race, gender, and cultural conceptions in jazz historical discourse. Journal of the American Musicological Society, 48(3), 396-422.
Porter, E. (2002). What Is This Thing Called Jazz?: African American Musicians as Artists, Critics and Activists (Music of the African Diaspora). Los Angeles: University of California Press.
Stempel, L. (2010). Showtime: a history of the Broadway musical theater. New York: WW Norton.
Thomas, G. (2002). The canonization of Afro-American literature. Callaloo, 25(1), 288-308.
Wagnleitner, R. (2009). Jazz, the Classical Music of Globalization en Satchmo Meets Amadeus. Wien: Trasatlantica.
Young, J. y Matheson, C. (2000). The Metaphysics of Jazz. The Journal of Aesthetics and Art Criticism, 58(2), 125-133.
Grabaciones discográficas
Various Artists (2011). Jazz: The Smithsonian Anthology. CD. Washington, D.C.: jazz, blues, ragtime.
Hall, J.; Desmond, P.; Baker, C. y Carter, R. (1975). Concierto. CD. Englewood Cliffs: Van Gelder Studio, Jazz.
Jarret, K. (1975). The Köln Concert. CD. Opera House, Cologne: Jazz. ECM.
The Hilliard Ensemble y Garbarek, J. (1994). Officium. CD. Propstei St. Gerold, Austria: Jazz, classical. ECM.
Merchán Sánchez-Jara, J., & Navarro Cáceres, M. (2020). Jazz Music in the Educational Institution: A Journey of Translation from the Periphery to the Heart of the Canon of Cultured Music in the West. Popular Music Research Today: Revista Online De Divulgación Musicológica, 2(2), 5–31. https://doi.org/10.14201/pmrt.22400
Most read articles by the same author(s)
- Juan Manuel Cantos Ruiz, Sara González Gutiérrez, Javier Merchán Sánchez-Jara, Ludovica Mastrobattista, Jazz Music in Feminine. Professional Projection, Educational Ecosystems and Cultural Management in Spain , Popular Music Research Today: Revista Online de Divulgación Musicológica: Vol. 5 (2023)
Downloads
Download data is not yet available.
+
−