Big Ears Listening for Gender in Jazz Studies
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Description: In jazz circles, players and listeners with "big ears" hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at New York's Caf Society during the 1930s and 1940s to an interpretation of representations of the jazzman in Dorothy Baker's 1938 novel,Young Man with a Horn, and Michael Curtiz's 1952 film adaptation. Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture.Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from a variety of perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another examines pianist and composer George Russell's Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity. Other essays include an exploration of performances of "female hysteria" by Les Diaboliques, a feminist improvising trio; an examination of BBC radio broadcasts of Ivy Benson and her Ladies' Dance Orchestra during World War II; and a reflection by Ingrid Monson on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. By incorporating gender analysis into jazz studies,Big Earstransforms ideas of who counts as a subject of study and even of what counts as jazz.
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All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.
List price: $29.95
Copyright year: 2008
Publisher: Duke University Press
Publication date: 11/7/2008
Size: 6.25" wide x 9.00" long x 0.75" tall
|Rooting Gender in Jazz History|
|Separated at "Birth": Singing and the History of Jazz|
|With Lovie and Lil: Rediscovering Two Chicago Pianists of the 1920s|
|Gender, Jazz, and the Popular Front|
|"The Battle of the Saxes": Gender, Dance Bands, and British Nationalism in the Second World War|
|Identity for Sale: Glenn Miller, Wynton Marsalis, and Cultural Replay in Music|
|Improvising Gender: Embodiment and Performance|
|From the Point of View of the Pavement: A Geopolitics of Black Dance|
|Perverse Hysterics: The Noisy Cri of Les Diaboliques|
|"Born Out of Jazz . . . Yet Embracing All Music": Race, Gender, and Technology in George Russell's Lydian Chromatic Concept|
|"But This Music is Mine Already!" : "White Woman" as Jazz Collector in the Film New Orleans (1947)|
|Fitting the Part|
|Reimagining Jazz Representations|
|"Better a Jazz Album Than Lipstick" (Lieber Jazzplatte Als Lippenstift): The 1956|
|Series Reveals Images of Jazz and Gender in Postwar Germany|
|Exclusion, Openness, and Utopia in Black Male Performance at the World Stage Jazz Jam Sessions|
|"It Takes Two People to Confirm the Truth": The Jazz Fiction of Sherley Ann Williams and Toni Cade Bambara|
|"Blow, Man, Blow!": Representing Gender, White Primitives, and Jazz Melodrama Through A Young Man With A Horn|
|The Gendered Jazz Aesthetics of That Man of Man: The International Sweethearts of Rhythm and Independent Black Sound Film|