Ken Prouty argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz’s identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual’s unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that not only transcend traditional boundaries of geography, but increasingly exist only in the virtual world. The relationships of “jazz people” within and between these communities is at the center of Knowing Jazz. Some groups, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly online communities, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz’s identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, Knowing Jazz charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.
Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, Knowing Jazz charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.
Faulkner and Becker’s vivid, detailed portrait of the musician at work holds valuable lessons for anyone who has to think on the spot or under a spotlight.
Prouty, K., Knowing Jazz: Community, Pedagogy, and Canon in the Information Age (Jackson: University Press of Mississippi, 2012), 10. Margolis, N., 'A Theory on the Psychology of Jazz', American Imago, Volume 2 (1954): 263–90.
We have all heard it said that the criticism of jazz was once left to amateurs. That is not entirely true, nor is there any lack of amateurs today. But we do have now several writing about jazz who, although they really know what ...
How Performance Spaces Shape Jazz History Kimberly Hannon Teal ... Ken Prouty, Knowing Jazz: Community, Pedagogy, and Canon in the Information Age (Jackson: University of Mississippi Press, 2012), 47. 2. Paul Berliner, Thinking in Jazz: ...
This piece is derived in part from the fourth chapter of my book Knowing Jazz: Community, Pedagogy and Canon in the Information Age (Jackson, MS: University Press of Mississippi, 2012). I am grateful to Craig Gill and the University ...
Writers are often only faintly aware of realities which the jazz musician knows but cannot describe. Yet there is a legitimate task for the writer on jazz, as on any art. It is to bring understanding of the art to a greater number of ...
Whether you're a lifelong supporter from the early days in Salt Lake City or a more recent fan, this is the ultimate resource guide for all Jazz faithful.
The imperfect art. New York: Oxford University Press. Hebdige, D., 2001. Even unto death: improvisation, edging and enframement. Critical Enquiry 27, pp. 333–353. ... Improvisation, hypermedia and the arts since 1945. London: Routledge.
Another useful discussion in this area can be found in Ken Prouty, Knowing Jazz: Community, Pedagogy, and Canon in the Information Age (Jackson: University of Mississippi Press, 2011), 46–77. 79. On the ways in which a politics of ...