Jazz historiography Essay -- American Culture, Music

The rapid development of jazz in twain the United States and Europe generated a number of diverse medicineal expressions, including musics that al roughly listeners today would not recognize as jazz music. In enjoin to remedy this situation, jazz musicians and critics after 1930 began to codify what real jazz encompassed, and more(prenominal) importantly, what real jazz did not encompass. This construction of authenticity, often demarcated along racial lines, served to relegate several artists and styles (those outside a mainstream to the margins of historiography. The issue of race is primal to all discourses of jazz. Alongside race goes the problem of mission, or, who gets to play what for whom and under what circumstance. Problems of representation abound from the beginning of jazz history, usually centered on gaberdine representation of black music and culture from a negative reward point. Iconic examples of this phenomenon include the 1917 release of Livery Stable Blu es by the Original Dixieland Jazz Band and Paul Whitemans 1924 Aeolian Hall concert. The ODJBs recording was the maiden jazz record and the first representation of jazz to the majority of Ameri set ups, both black and white. Whitemans concert was invested in representing jazz to white Americans, showing how it had progressed from its primitive black beginnings to a more sophisticated style rooted in the fundamentals of European practice. Indeed, ideas of creation and control in jazz have usually been gaunt along racial lines black as creator, white as curator. In this mode of racial understanding in jazz, white jazz fans and musicians purportedly lack an essential something that makes them unable to innovate in jazz. Conversely, black musicians, eyepatch highly c... ... of which modern jazz big band dance music (for example, the Fletcher Henderson, Duke Ellington and Count Basie Orchestras), bebop, and later Free Jazz- emerged. Modern jazz, and particularly bebop, becaus e of its hybrid nature has presented cultural critics, and especially critics of music, with a set of unresolvable issues. The music itself embodies contradiction. It can accurately be called both popular and high culture it has an oral, slang term lineage and one related to more innovative compositional techniques it is African-American and European, romantic and revolutionary and it has both escapist (ie, Sun Ra and late-era hind end Coltrane) and resistant (ie. Archie Shepp, Ornette Coleman) tendencies. As a result, jazz has become one of the most highly discusses and debated modern musical forms with controversial discourse surrounding its development.