Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-25T15:12:59.545Z Has data issue: false hasContentIssue false

Hear me talkin' to ya: problems of jazz discourse

Published online by Cambridge University Press:  11 November 2008

Extract

This article is part of a larger attempt to map the movement of jazz within its cultural field, and as such is less concerned with its musicological properties than with the means of its production, consumption and the associated technology and rhetoric. It is the last of these that I am most interested in just here: the question of finding appropriate ways of talking about jazz. I want to suggest that certain kinds of commentary ostensibly dedicated to conferring artistic legitimacy on the music in effect reshape it so that it can be more easily fitted into a political economy.

Type
Articles
Copyright
Copyright © Cambridge University Press 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Attali, Jacques. 1985. Noise: The Political Economy of Music (Manchester)Google Scholar
Bal, Mieke. 1992. ‘Telling, Showing, Showing Off’, Critical Inquiry, 18/3, pp. 556–94CrossRefGoogle Scholar
Collier, James Lincoln. 1981. The Making of Jazz: A Comprehensive Jazz History (London and Basingstoke, first pub. 1978)Google Scholar
Cutler, Chris. 1985. File Under Popular: Theoretical and Critical Writings on Music (London)Google Scholar
Davis, Miles, with Quincy, Troupe. 1990. Miles: The Autobiography (London)Google Scholar
Durant, Alan. 1984. Conditions of Music (London)CrossRefGoogle Scholar
Dyer, Geoff. 1991. But Beautiful: A Book about Jazz (London)Google Scholar
Eisenberg, Evan. 1987. The Recording Angel: Music, Records and Culture from Aristotle to Zappa (New York)Google Scholar
Finnegan, Ruth. 1989. The Hidden Musicians: Music-Making in an English Town (Cambridge)Google Scholar
Frith, Simon. 1986. ‘Hearing secret harmonies’, in High Theory/Low Culture: Analysing Popular Television and Film, ed. McCabe, Colin (Manchester)Google Scholar
Gioia, Ted. 1988. The Imperfect Art: Reflections on Jazz and Modern Culture (Oxford)Google Scholar
Goddard, Chris. 1979. Jazz Away From Home (New York and London)Google Scholar
Horn, David (ed.). 1985. Popular Music Perspectives 2 (Gothenberg, Exeter, Ottawa, Reggio Emilia)Google Scholar
Horn, David. 1991. Review of Gioia, op. cit., Popular Music, 10/1, pp. 103–7CrossRefGoogle Scholar
Hutcheon, Linda. 1989. The Politics of Postmodernism (London and New York)Google Scholar
Jameson, Fredric. 1981. The Political Unconscious: Narrative as a Socially Symbolic Act 6 (Ithaca and New York)Google Scholar
Johnson, Bruce. 1987. The Oxford Companion to Australian Jazz (Melbourne)Google Scholar
Johnson, Bruce. 1992. ‘Orality and jazz education’, New Music Articles, 10Google Scholar
Middleton, Richard. 1990. Studying Popular Music (Milton Keynes and Philadelphia)Google Scholar
Popular Music 1, 1981CrossRefGoogle Scholar
Shapiro, Nat and Hentoff, Nat. 1955. Hear Me Talkin' To Ya (New York and London)Google Scholar
Small, Christopher. 1987. ‘Performance as ritual: sketch for an enquiry into the true nature of a symphony concert’, in Lost in Music: Culture, Style and the Musical Event, ed. White, A. L. (London) pp. 632Google Scholar
Tagg, Philip. 1979. Kojak – 50 Seconds of Television Music: Towards the Analysis of Affect in Popular Music (Gothenberg)Google Scholar
Tagg, Philip and Clarida, Robert. Ten Little Tunes (forthcoming research report, Institute of Popular Music, University of Liverpool)Google Scholar
Taylor, Roger. 1978. Art an Enemy of the People (Hassocks, Sussex)Google Scholar