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Jazz Research Journal

About the Journal

The journal aims to represent a range of disciplinary perspectives on jazz, from ethnography to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Read more about the journal.

Announcements

The editorial board of Jazz Research Journal collectively authored this statement over a number of months in 2021 and 2022. We consider it a necessary and long overdue intervention into the field of jazz studies. The statement describes the jazz studies we want to see.

Call for Papers: Creative Practice in Jazz Research

Call for papers: does it work exploring the reduction of gender-based sexism, discrimination, and violence in jazz and improvised music, current issue, gender and jazz research in spain on the way to finding its own voice.

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Green in blue The environmental impacts of jazz production and consumption

Creating the improvised moment, the changing face of my jazz photographic practice, challenging subjects; inclusivity and diversity code of conduct, quota, tokenism, anti-oppression and the likes - an invitation for debate, review article, william sites, sun ra’s chicago: afrofuturism and the city, jen wilson, freedom music: wales, emancipation and jazz 1850–1950, subscription.

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Artistic Research in Jazz: Positions, Theories, Methods (Preview PDF)

2021, Artistic Research in Jazz: Positions, Theories, Methods

This book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding theoretical, methodological, and analytic perspectives. A panel of eleven international contributors presents an in-depth discourse on shared and specific approaches to artistic research in jazz, aiming at an understanding of the specificity of current practices, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender, and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors. In thinking outside established theoretical frameworks, this book invites further exploration and participation, and encourages practitioners, scholars, students, and teachers at all academic levels to shape the future of artistic research collectively. It will be of interest to students in jazz and popular music studies, performance studies, improvisation studies, music philosophy, music aesthetics, and Western art music research.

Related Papers

Wolf-Georg Zaddach

This is a presentation at the Roundtable Discussion "Artistic Research in Jazz: Positions, Theories, Methods", part of the "Jazz Re:Search in 21st Century Academia and Beyond", 13th International Jazz Research Conference, Graz (Austria), 09 12 June 2022

Music and Sonic Arts: Theories and Practice

Michael Kahr

International Review of The Aesthetics and Sociology of Music

Ricardo Pinheiro

n this article I discuss jazz historiography from a criti- cal perspective, namely: the troubled acceptance of its practices and discourses within American society; the complex relationships between jazz, the canon, and academia; the processes of construction and dissemination of local aesthetics and practices; the key issues of race and gender; analytical approaches; and artistic creation in the context of performance. I argue that traditional historical readings (identification of styles and »artistic schools«, for example) should be combined with analytic, cultural and musical approaches focused on the impact of practices and discourses of musicians, critics, historians, and other agents of the milieu, as an echo and at the same time agent of social and aesthetic transformation.

Delivered at the 12th Biennial Symposium on Arts and Technology, Connecticut College, February 2010. Electro-acoustic music has historically been viewed as exclusively an outgrowth of European aesthetics and technologies. This paper considers some of the obstacles that prevented music that crossed boundaries between electro-acoustic music and jazz, a musical tradition that emerged from African-American roots. Examples of boundary crossing are explored, with a focus on the Anthony Braxton - Richard Teitelbaum duets and Herbie Hancock’s Mwandishi band of the early 1970s. Such collaborations challenge the notion that the two traditions have always been racial and aesthetically segregated from one another and suggest the possibilities for further creative endeavors.

WILLIAM ALLISON

Gabriel Solis

Jonathan Saraga

Although only 2% of Americans bought jazz albums in 2014, Edward Sarath is as confident as ever that jazz music can help our world on a scale that most would probably not consider. Fellow for the American Council of Learned Societies, the Ford Foundation, the National Center for Institutional Diversity, and the National Endowment of the Arts, sets out in his book, Improvisation, Creativity and Consciousness, to not only prove the need for major changes within academia’s approach to jazz education and overall musical pedagogy, but also how powerful an effect such changes could have on society. I have structured this review in three parts: The introduction will serve as background on the author and subject matter, accessorized with my own opinions. Part 1 is a discussion of the books themes and contents accompanied by my own commentary, and Part 2 is my takeaway and opinions on the book.

Lynne H Roff

haftor Medboe

This study focuses on three albums of original music performed and recorded by the author as the leader of the Haftor Medbøe Group and released variously by Linn Records and Fabrikant Records between 2006 and 2010. Through the prisms of historiography, community and boundary, cultural migration, and collaboration, the thesis explores creative identity and practice as formatively and summatively applied in the realisation of the published works. The thesis employs personal reflection on the composition and performance of the published works to present an account of evolving engagement with current and historical thinking on narrative, trope and identity in jazz music and its communities. The discussion will challenge accepted constructions of linear, canonical history in jazz, offering instead a pluralist understanding of its stylistic and aesthetic development over the past century. The assumptive and selective modalities through which jazz histories and practices are collectively constructed will be viewed in parallel with the author’s retrospective understanding of personal creative history and cumulative identity. The imagining of global, national and local communities of jazz production and reception will be examined in relation to their influence on the cultural positioning of the author as a jazz composer and performer. In looking beyond historical perceptions of jazz as an instrument of American cultural diplomacy and dominance, it will be shown that the European adoption of the musical language of jazz has, using the example of Nordic Tone, given rise to discrete reinterpretations and divergences from the genre’s ethnic roots. The role of national identity in non-American conceptions of jazz is consequently examined in the context of the author’s experience of creative and collaborative practice through the published works. It will be argued that in spite of being culturally rooted in early 20th Century America, jazz has become a ‘glocally’-informed music, with locally and individually framed values of genre authenticity and guardianship extant alongside traditionalist claims to heritable lineage. Through considering and i reflecting on cultural and national identities and communities, the thesis will demonstrate that musical practice and collaboration are informed and affected by complex conscious and subconscious relationships with these themes, that are ultimately synthesised in the published works.

Politique et Musique, ed. by M. Pandolfi & L. McFalls, Boreal

Alessandro Duranti

This chapter engages with three magazine articles that in 2014 declared jazz to be an art form that had run its course. The articles are by no means identical in their contents or stance. The first, by someone who later declared that he likes jazz, is satirical. The second, by someone who admits that he does not understand jazz, is dead serious. The third, by a musician and educator, is culturally more informed but critical about the lack of political engagement by contemporary jazz musicians. My delayed and, by definition, “academic” comments, are meant to highlight the problematic assumptions and expectations that seem to motivate and explain some aspects of the criticism. In particular, I am here supporting the view of jazz as a hybrid genre born in and sustained by African American communities. This implies that the appreciation of jazz does not come “naturally,” but requires a process of acculturation and socialization into its own particular aesthetics. Finally, I question the expectation made explicit by the author of the third essay reviewed here that jazz players today are required to define themselves as political or countercultural in order to continue to be appreciated in both the art world and society at large.

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Artistic research in jazz.

Artistic Research in Jazz: Positions, Theories, Methods

This book project, edited by Michael Kahr, presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding theoretical, methodological, and analytic perspectives. A panel of eleven international contributors presents an in- depth discourse on shared and specific approaches to artistic research in jazz and popular music, aiming at an understanding of the specificity of current practice in jazz and popular music, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender, and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors. In thinking outside established theoretical frameworks, this book invites further exploration and participation, and encourages practitioners, scholars, students, and teachers at all academic levels to shape the future of artistic research collectively. It will be of interest to students in jazz and popular music studies, performance studies, improvisation studies, music philosophy, music aesthetics, and Western art music research.

Details/order here : Artistic Research in Jazz: Positions, Theories, Methods - 1st Edition (routledge.com)

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Welcome to the International Society for Jazz Research

The International Society for Jazz Research (ISJ) was founded in 1969 on the initiative of the Graz Institute for Jazz. Together with the Institute for Jazz Research, founded in 1971, the ISJ is among the oldest and longest-standing institutions in the world dedicated to scholarly research and debate on jazz.

Our aim has been – and still is – to develop and enhance a systematic jazz research that involves and connects to a wide field of disciplines. To this end, we raise and provide funding to foster an international network of jazz studies scholarship.

Over the last fifty years, ISJ’s core activities have been the organization of our international conferences – most recently 2018’s international “Jazz Voices” conference – and, of course, the publication of the well-known yearbook Jazzforschung / Jazz Research (vol. 48 to be published later this year) and the series Beiträge zur Jazzforschung / Studies in Jazz Research ; both began publication in 1970. Jazz Research News (now at no. 52) was added to our portfolio in 2000.

The ISJ is based at the Institute for Jazz Research at the University of Music and Performing Arts Graz.

Rhythm Changes Conference 2019 Graz – 11 to 14 April 2019

The Sixth Rhythm Changes Conference: Jazz Journeys will take place at the University of Music and Performing Arts Graz in Austria from 11 to 14 April 2019.

Keynote Speakers Prof. Jason Stanyek (University of Oxford) Prof. Marie Buscatto (University of Paris 1 Panthéon Sorbonne)

Closing Address Prof. Alan Stanbridge (University of Toronto)

PUBLICATIONS

The ISJ organizes international meetings for the publication of its research results and publishes – in cooperation with the Institute for Jazz Research – the following series (in German or English language):

Jazzforschung / Jazz Research

Beiträge zur Jazzforschung / Studies in Jazz Research

Jazz Research News

News & events.

News & Events – International Society for Jazz Research

Jazz Encounters – VIII Rhythm Changes Conference / XIV International Jazz Research Conference

Research Round Table – 19.03.2024

Vortrag von Melanie Ptatscheck (NYU, USA / HfMT Cologne, Germany) am 19. März 2024 um…

Research Round Table – 14.12.2023

Vortrag von Sarah Raine (University College Dublin) am 14. Dezember 2023 um 18.00 Uhr im…

Doctoral Dissertations in Musicology – Online | Karlsruher Virtueller Katalog (KVK)

Recorded Sound Reference Center | Musical Organizations and Professional Societies (worldwide)

Louis Armstrong House And Archives | Instituto de Estudios del Jazz

Chicago Jazz Archive | The William Ransom Hogan Archive of New Orleans

The Duke Ellington Society | The Center for Jazz Studies at Columbia University

Radio Jazz Research | Jazz-Institut Darmstadt

Michael Fitzgerald Jazz Research Website | Archives of African American Music and Culture

Gesellschaft für Popularmusikforschung e.V. | International Association for the Study of Popular Music (IASPM)

Institute of Jazz Studies | Center For Black Music Research

Cylinder Preservation and Digitization Project | Jazz Photographs by William P. Gottlieb

• Jazz Education in Research and Practice

Women in Jazz Music: A Hundred Years of Gender Disparity in Jazz Study and Performance (1920–2020)

• Kaitlyn Van Vleet
• Indiana University Press
• Volume 2, Number 1, Spring 2021
• pp. 211-227
• 10.2979/jazzeducrese.2.1.16
• View Citation

Additional Information

Presently, women are still underrepresented in jazz music performance and education, with only around 10% of jazz academics being female. The aim of this paper is to analyze the reason for the gender disparity and how it has changed over time. Several questions are addressed in this paper. Why the significant disparity? Do women feel unwelcome in the jazz community? If so, what historical events have led to this perception? What can be done to correct this lack of representation? Answering these questions will shine a light on historical gender discrimination in the United States and illuminate existing problems. From examining books and peer-reviewed articles, and conducting interviews with women in jazz, this paper concludes that discrimination that began 100 years ago against women in jazz remains today, impacting the number of women who pursue jazz as a career. Nevertheless, being a woman in jazz has improved in recent years.

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Selected Journals include the Annual Review of Jazz Studies , Down Beat , J azz Education Journal , Jazziz , available in Music Periodicals Database;  Jazz Perspectives and Popular Music and Society , available from Taylor & Francis Online;  Journal of Popular Music Studies , available form Wiley Online Library; and  Popular Music , available from JSTOR. 

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• Review Article
• Published: 29 March 2022

Music in the brain

• Peter Vuust   ORCID: orcid.org/0000-0002-4908-735X 1 ,
• Ole A. Heggli   ORCID: orcid.org/0000-0002-7461-0309 1 ,
• Karl J. Friston   ORCID: orcid.org/0000-0001-7984-8909 2 &
• Morten L. Kringelbach   ORCID: orcid.org/0000-0002-3908-6898 1 , 3 , 4  

Nature Reviews Neuroscience volume  23 ,  pages 287–305 ( 2022 ) Cite this article

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• Neuroscience

Music is ubiquitous across human cultures — as a source of affective and pleasurable experience, moving us both physically and emotionally — and learning to play music shapes both brain structure and brain function. Music processing in the brain — namely, the perception of melody, harmony and rhythm — has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain’s fundamental capacity for prediction — as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

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Acknowledgements

Funding was provided by The Danish National Research Foundation (DNRF117). The authors thank E. Altenmüller and D. Huron for comments on early versions of the manuscript.

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Peter Vuust, Ole A. Heggli & Morten L. Kringelbach

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Patterns of pitched sounds unfolding over time, in accordance with cultural conventions and constraints.

The combination of multiple, simultaneously pitched sounds to form a chord, and subsequent chord progressions, a fundamental building block of Western music. The rules of harmony are the hierarchically organized expectations for chord progressions.

The structured arrangement of successive sound events over time, a primary parameter of musical structure. Rhythm perception is based on the perception of duration and grouping of these events and can be achieved even if sounds are not discrete, such as amplitude-modulated sounds.

Mathematically, the expected values or means of random variables.

The ability to extract statistical regularities from the world to learn about the environment.

In Western music, the organization of melody and harmony in a hierarchy of relations, often pointing towards a referential pitch (the tonal centre or the tonic).

A predictive framework governing the interpretation of regularly recurring patterns and accents in rhythm.

The output of a model generating outcomes from their causes. In predictive coding, the prediction is generated from expected states of the world and compared with observed outcomes to form a prediction error.

The subjective experience accompanying a strong expectation that a particular event will occur.

An enactive generalization of predictive coding that casts both action and perception as minimizing surprise or prediction error (active inference is considered a corollary of the free-energy principle).

A quantity used in predictive coding to denote the difference between an observation or point estimate and its predicted value. Predictive coding uses precision-weighted prediction errors to update expectations that generate predictions.

Expectations of musical events based on prior knowledge of regularities and patterns in musical sequences, such as melodies and chords.

Expectations of specific events or patterns in a familiar musical sequence.

Short-lived expectations that dynamically shift owing to the ongoing musical context, such as when a repeated musical phrase causes the listener to expect similar phrases as the work continues.

The inverse variance or negative entropy of a random variable. It corresponds to a second-order statistic (for example, a second-order moment) of the variable’s probability distribution or density. This can be contrasted with the mean or expectation, which constitutes a first-order statistic (for example, a first-order moment).

(MMN). A component of the auditory event-related potential recorded with electroencephalography or magnetoencephalography related to a change in different sound features such as pitch, timbre, location of the sound source, intensity and rhythm. It peaks approximately 110–250 ms after change onset and is typically recorded while participants’ attention is distracted from the stimulus, usually by watching a silent film or reading a book. The amplitude and latency of the MMN depends on the deviation magnitude, such that larger deviations in the same context yield larger and faster MMN responses.

(fMRI). A neuroimaging technique that images rapid changes in blood oxygenation levels in the brain.

In the realm of contemporary music, a persistently repeated pattern played by the rhythm section (usually drums, percussion, bass, guitar and/or piano). In music psychology, the pleasurable sensation of wanting to move.

The perceptual correlate of periodicity in sounds that allows their ordering on a frequency-related musical scale.

Also known as tone colour or tone quality, the perceived sound quality of a sound, including its spectral composition and its additional noise characteristics.

The pitch class containing all pitches separated by an integer number of octaves. Humans perceive a similarity between notes having the same chroma.

The contextual unexpectedness or surprise associated with an event.

In the Shannon sense, the expected surprise or information content (self-information). In other words, it is the uncertainty or unpredictability of a random variable (for example, an event in the future).

(MEG). A neuroimaging technique that measures the magnetic fields produced by naturally occurring electrical activity in the brain.

A very small electrical voltage generated in the brain structures in response to specific events or stimuli.

Psychologically, consonance is when two or more notes sound together with an absence of perceived roughness. Dissonance is the antonym of consonance. Western listeners consider intervals produced by frequency ratios such as 1:2 (octave), 3:2 (fifth) or 4:3 (fourth) as consonant. Dissonances are intervals produced by frequency ratios formed from numbers greater than 4.

Stereotypical patterns consisting of two or more chords that conclude a phrase, section or piece of music. They are often used to establish a sense of tonality.

(EEG). An electrophysiological method that measures electrical activity of the brain.

A method of analysing steady-state evoked potentials arising from stimulation or aspects of stimulation repeated at a fixed rate. An example of frequency tagging analysis is shown in Fig.  1c .

A shift of rhythmic emphasis from metrically strong accents to weak accents, a characteristic of multiple musical genres, such as funk, jazz and hip hop.

In Aristotelian ethics, refers to a life well lived or human flourishing, and in affective neuroscience, it is often used to describe meaningful pleasure.

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Vuust, P., Heggli, O.A., Friston, K.J. et al. Music in the brain. Nat Rev Neurosci 23 , 287–305 (2022). https://doi.org/10.1038/s41583-022-00578-5

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Published : 29 March 2022

Issue Date : May 2022

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