Index
Aagre, Frøy, 11
Abercrombie, John, 7
absolutism/formalism on music’s meaning, 42, 43
abstract expressionism, 170
academe and jazz education:
Afro-American exceptionalism, 135; and cultural relativism within jazz, 117–18; diasporic/transnational theory, 120–22, 124; and economics of jazz musicianship, 7–8; European coupling of jazz and classical, 147–49; increased interest in, 12, 14–15; and jazz as elitist art form, 18; lack of education on British jazz history in UK, 265n130; need to move from conservatism, 23–24, 257n87; relativism in, 16–18, 117–24, 129, 130; technique mastery emphasis of, 28–31. See also New Jazz Studies
African Americans: first band recordings in US, 191–92; jazz as cultural contribution of, 20–21, 134–36; Louis Mitchell’s band, 179; relationship to jazz as cultural form, 21–22; Still as first Afro-American composer to have symphony performed by major American symphony orchestra, 232; Still as first Afro-American to conduct major American symphony orchestra, 232; symphonic jazz influence on arrangements, 206–8; wartime patriotism propaganda to influence, 75. See also racial prejudice
Akiyoshi, Toshiko, 143
Allen, Henry, 220
Allen, Howard Warren “Wad,” 168
American cultural influence: as benign vs. destructive, 74–75; and Cold War outcome, 79–84; consumerism, 62–68, 86; cult of celebrity, 73–74; English language, 74; fears about and resistance to, 75, 261n31; general influence, 61–63, 86; and globalization, 94; and glocalization, 99; halo effect, 86–88; Hollywood film industry, xii, 55, 68–74, 265n129; Imaginary America, xii, 55, 58–59, 67, 68, 70, 74, 88; and imagined community, xii, 55, 58–59, 67, 68, 70, 74, 88; on Jazz Age Europe, 182, 195; rise and fall of, 1–2; role of jazz in, xiii, 75–83, 86–88, 138. See also soft power; United States
American exceptionalism, ix, 87, 88, 135–36
Ames, Margaret, 83
Anderson, Janna Quitney, 24–25
Antheil, George, 164
Apollinaire, Guillaume, 169, 184
Arendt, Hannah, xiii, 15, 17, 20
Argue, Darcy James, 6
Armory Show (1913), 156–57, 185–86
Armstrong, Louis, 81, 202, 207, 217, 242
art. See visual art
art/entertainment dichotomy, 15–17, 37, 172, 219–40, 242
audience: bebop’s need for, 241–42; boredom response to devaluation of inspirational styles, 34–35; demographics of current, 12–14; elitism and alienation of, 16–20, 38; European vs. American, 51–52, 53, 55, 58–59; and expectation in music appreciation, 44, 45, 48; lack of opportunities to listen outside of big cities, 11–12; loss of younger, 3, 13–14, 22–23, 24–27, 86; as maker of meaning, 51; melodic expressivity’s importance for, 30, 31–32; mid 20th-century response to American jazz, 81; musicians’ technique as factor in loss of, 30–31, 33–34; over-complexity issue, 24, 26–27; popular culture’s influence on tastes of, 15–25; presentation’s importance for, 152–53; and present vs. past as home of jazz, 22–23, 36; tourism as major source in NYC, 7
authenticity, 56, 57–58, 95–96, 100
avant-garde jazz, 53, 108, 175, 218, 236–38, 240
Baade, Christina, 55
Bach, Johann Sebastian, 173
Bailey, Mildred, 221
Ball, Hugo, 165
Bar Gaya, Paris, 175
Bearden, Milt, 73
bebop: arrival in Europe, 56; consumerist view of as modern, 243; as evolution rather than revolution, 240–41; high-brow tradition for, 210; Jazz Age precursors, 207, 216–17; modern jazz as predating, 219–40; need for audience, 241–42; originality and context issue, 33; overuse of inspiration from, 35; as quintessence of modern, 242–44; South American view of, 141–42; Swing Era anticipations, 221–22
Beethoven, Ludwig von, 44
Berlin, Edward, 160
Bernhardt, Clyde, 219
big band jazz: American modern experimentation, 219–25, 227–40; Dankworth and Scott’s quest for authenticity, 57; European modern experimentation, 225–27, 235; glocalization, 143, 146–47, 150; Goodman’s Cold War victory at World’s Fair, 79–80; influence on American visual art, 187; Miller’s wartime influence in Europe, 77–78; mitigating moral censure of jazz, 205, 208; vs. New Orleans style, 219; overview of development, 157; Whiteman’s influence, 193–208
Birth of Cool (Davis), 33, 245
Black, Brown and Beige (Ellington), 211
Black Atlantic diasporic culture, 120–21, 135–36
Black Radio (Glasper), 22
Blackstone, Tessa, 17
Blood on the Fields (W. Marsalis), 252
Blumenfeld, Sam, 74
Boland, Francy, 41
“Boneyard Shuffle” (Carmichael), 215–16
Bowie, Joe, 9
Boyd Meets Stravinski (Raeburn), 236–37
Bragaglia, A. G., 183
Brand, Dollar (Abdullah Ibrahim), 143, 144–45
brand America, power of, 63, 86–88
Braque, Georges, 161
Breton, André, 169
British jazz. See United Kingdom
Browne, Ray B., 18
Brubeck, Dave, 56, 59, 80, 83, 243–48, 259n74
Brubeck, Iola, 59
Brunn, H. O., 40
Brussels World Fair (1958), 79–80
Burian, Emil, 183
Camargo Piedade, Acácio, 141–42
Campe, Christian von, 111
Canada, 75
Carmichael, Hoagy, 168, 215–16
Carpenter, John Alden, 174
Carr, Ian, 139
Carter, Benny, 220
Castle, Vernon and Irene, 156
Cendrars, Blaise (Frédéric Louis Sauser), 168–69, 172
Cézanne, Paul, 159
Charleston (dance), 182
Christensen, Jon, 101
chromaticism, 204, 213–14, 220
CIA (Central Intelligence Agency), 72–73, 81–82
City of Glass (Graettinger), 238
classical music: adoption of jazz, 199–200; in European jazz curriculum, 147–49; and European seriousness of jazz appreciation, 55; glocalization, 112–13, 114–17, 123–25, 130–31, 146–47; and modern music (including jazz), 160–61, 162, 165, 170–77, 252; and Whiteman’s influence on elite acceptance of jazz, 194
Club XI, 56
Coleman, Ornette, 251
Collier, Andrew, 6
Collier, James Lincoln, 23
Coltrane, John, 251
commercial influence on jazz, 219–20, 241–42. See also consumerism
Conflict Theory of Emotions, 43–44
Conover, Willis, 82
consumerism: and bebop as modern, 243; as central to American culture, 19–20, 62–68, 86; and cult of celebrity, 73; damage to art appreciation from, 15–16; defined, 64; fading influence of, 3; and globalization, 94; Hollywood’s selling of, 74; Jazz Age, 178, 182; and recording of music, 39
context as element in meaning of music, 32–33, 49, 50, 53–55
contrafacts, 216
corporate-driven growth, 3, 16, 93
corporatization process, 93
counterculture movement (1960s), 24, 71
“Creole Rhapsody” (Ellington), 209
“The Crisis in Culture” (Arendt), xiii, 15
Crockett, Alison, 22
cultural capital of jazz, xiv, 19, 252
cultural coding, 106–7, 124–29
cultural convergence model, 94, 95, 110–11
cultural cringe factor, 87
cultural nationalism, 111, 112–16
cultural relativism, 16–18, 92, 117–24, 129, 130
culture: collapse into economic activity, 26; definitional issues, xi, 51–52; essentialism in national culture, 110; globalization perspectives, 93–97; jazz as African American, 20–22, 134–36; meaning of music as embedded in, 41, 42, 49–50; overview of jazz and, 1–4. See also popular culture
Culture Codes, 51
dance craze, post-WWI, 39–40, 155–56, 157, 182, 191. See also Jazz Age; Swing Era
dance music: American moral anxiety over, 187–88, 189, 190–91; cakewalk, 159–60, 162, 169; Charleston, 182; and development of jazz as modern, 168; ragtime, 160, 162, 170–71, 173–74, 179; recording as segue to listening music, 182; Whiteman’s role in social acceptance of, 194–95, 206–8. See also big band jazz; Jazz Age
Dankworth, Johnny, 56, 87, 139, 239
Dankworth Seven, 57
Dave Brubeck Quartet, 80, 246–47
“Davenport Blues” (Beiderbecke), 213
Davis, Miles, 31, 33, 37, 57, 132, 135, 245
Dawkins, Richard, 129
DeJohnette, Jack, 25
Delaunay, Charles, 184
Delaunay, Sonia, 184
Demoiselles d’Avignon (Picasso), 161
descriptive vs. prescriptive views of jazz, 21–22
Dewey, John, 43
diaspora/transnationalism theory, 92, 119–24, 129–30, 133–34, 135–36, 268–69n66
differentialism model, cultural, 93–94, 111
Dominant or Preferred Reading, 51–52, 57, 58
Dorsman, Ferdinand, 102
double consciousness, 121
Doucet, Clement, 176
drugs-and-jail cultural story for jazz musicians, 23–24
drums, and development of jazz, 165
Duchamp, Marcel, 163–64, 167, 168, 170, 186
Eastern vs. Western Europe in response to jazz, 59–60
economic globalization, 2–3, 93, 111
economics, 2–12, 16, 17, 64, 66, 89–90, 93, 110, 155–56. See also consumerism
education, as barrier to cultural convergence, 111. See also academe
Edwards, Cliff, 217
Elgar, Edward, 125
elitism: alienation of audience by jazz, 16–20, 38; converting elite to jazz, 194, 195–205, 208, 209–11; and moral censure of jazz (Jazz Age), 189–90, 192–93
Ellington, Duke, 144–45, 201–2, 205, 207–11, 252
Ellison, Ralph, 53
Ellwood, Derek, 62
emotional response to music, 30–31, 34, 37, 42–50, 124
emotive vs. technical musicianship, 30, 223–24
Encoding/Decoding model of meaning, 51–52
English language, 74, 100, 106–7
entertainment, culture as, 5, 18, 20, 27–28, 69–70, 219. See also art/entertainment dichotomy; dance music; Hollywood film industry
Ernst, Max, 169
Europe: African artistic influence on, 159, 160, 161, 172–73; American cultural influence, 56, 65–70; audience vs. American, 51–52, 53, 58–59; bebop’s arrival in, 56; classical and jazz interplay, 147–49, 170–76; Cold War influence of jazz, 79–84; cultural perspectives on globalization of jazz in, 96; glocalization of jazz in, 126–27; Hellfighters recording, 192; inferiority complex over local jazz, 87; Jazz Age in, 181–82; jazz clubs in, 56; Louis Mitchell’s role, 179–80; meaning of jazz in, 41, 52–60; modern, jazz as, 59–60, 65–66, 157–58, 172, 179–85; Nu-Jazz, 151–52; as primary source of musicians’ income, 6, 9; proxy membership of jazz fans in America, 57–58; Scandinavian jazz, 85–86, 126–27, 129–34, 140–41, 150, 151–52; Swing Era experimentation, 225–27, 235; visual art and jazz interplay, 159–67; WWII jazz influence, 77–78; WWI jazz influence, 76–77. See also specific countries by name
Europe, James Reese, 75–77, 192, 263n75
Eustis, Ross, 105
Evans, Gil, 239
Evans, Orrin, 21
exceptionalism, American, ix, 87, 88, 135–36
executive fluency, over-emphasis on, 30
expectation in music appreciation, 44, 45, 48
experimental musical forms, defining past jazz as inhibiting, 21–22. See also modernism
An Experiment in Modern Music (Whiteman), 197–202
extra-opus knowledge, defined, 44
Faulkner, Anne Shaw, 188
Ferris, Glenn, 104
film industry, American, xii, 55, 68–74, 265n129
financial globalization, 89–90
folkloric music and glocalization, 113–15, 130–31, 132–33, 140, 141, 142–43, 144–45, 149–51
foreign policy, cultural influence as, 62, 80, 83
formalism/absolutism on music’s meaning, 42
Fox, Charles, 214
fox trot, 194
Fraim, John, 68
France, 70, 75, 76–77, 116, 127–28, 160, 170–71, 175–76, 180, 261n31
freedom discourse, 59, 60, 66, 67–68, 70, 80, 82
free jazz, 169, 222, 224, 248–49
Freeman, Bud, 220
Fukita, Neil, 244
Fukuyama, Francis, 68
Future of Music project, 10
Gabbard, Krin, 18, 19, 118, 119, 134, 135
Garbarek, Jan, 101
Gauguin, Paul, 159
Gauthier, Eva, 197
Gershwin, George, 164, 172–73, 197, 198, 201
Getz, Stan, 28, 132, 140, 142, 235
Giddins, Gary, 36
Gillespie, Dizzy, 79, 81, 82, 222, 241, 242
Gilroy, Paul, 119–23, 124, 129–30, 133–34, 135–36
Gioia, Dana, 80
Glasper, Robert, 22
Glasser, Brian, 70
Gleizes, Albert, 162
globalization: and consumerism, 94; cultural perspectives, 93–97; defined, 91; economic, 2–3, 93, 111; of English language, 100, 106–7; financial, 89–90; and glocalization, 96–109, 123–24; historical processes, 92–93; and nationalism, 92, 109–17, 123
globalization of jazz: cultural perspectives applied to, 95–96; and cultural relativism, 117–19; diaspora/transnationalism theory, 119–24, 129; foreign tourist jazz fans in NYC clubs, 7; and glocalization, 99–109, 123, 124, 125–33; historical origins of, 136; importance of in-person experience, x–xi; introduction, 91–92; and nationalism, 112, 113–14
glocalization: classical music, 112–13, 114–17, 123–25, 130–31, 146–47; and cultural hybridization model, 96–97; defined, 97; examples, 101–5, 138–53; folkloric music’s role, 113–15, 130–31, 132–33, 140, 141, 142–43, 144–45, 149–51; vs. Gilroy’s diaspora theory, 122–23, 130–37; of jazz, 99–109, 123, 124, 125–33; of language, 106–7, 124–29; language of music, 100, 106; and Nordic Tone problem, 129–34; from popular culture, 151–53; rap music example, 98–99; Robertson’s elements, 97–98
Goffin, Robert, 176, 180, 181, 183, 184
Golden Years of jazz (1950s–1960s), 4, 20–21, 23, 87, 135, 136
Goodman, Benny, 79–80, 227, 228–29
Gordon, Dexter, 31
Gorky, Arshile, 186
governmental agencies, employment of US soft power by, 68–83
Graettinger, Robert, 238
Grappelli, Stéphane, 99
Gray, Jerry, 230
Griselle, Thomas, 233
Gulda, Friedrich, 147
halo effect of American cultural influence, 86–88
Harlem Symphony (Johnson), 212
harmonic progressions, 29, 32, 148, 210, 212–13, 216, 221–22, 229, 251
harmony, Ravel’s contribution to jazz, 177
Harris, Marion, 215
Harrison, Max, 18, 19, 212, 238
Havel, Vaclav, 84
Hayes, Tubby, 56
Hayward, William, 75
Hellfighters Band, 75–77, 192, 263n75
Henderson, Fletcher, 206–7, 216, 228
Hershey, Burnet, 40
hip-hop culture, 98
Hiromi, 102
Hobsbawm, Eric (Francis Newton), 54, 63, 117, 118, 182, 185
Hollywood film industry, xii, 55, 68–74, 265n129
Howland, John, 241
Hughes, Spike, 220
Hülsmann, Julia, 103
hybridization model, cultural, 94–95, 96–109. See also glocalization
Hylton, Jack, 177
IAJE (International Association of Jazz Educators), 12
Ibrahim, Abdullah (Dollar Brand), 143, 144–45
ideological meaning for jazz in Eastern Europe, 59
Iles, Nikki, 101
imagined community (Imaginary America), xii, 55, 58–59, 67, 68, 70, 74, 88
“I’m Coming Virginia” (solo by Beiderbecke), 214, 215
improvisation, 29–30, 31, 32–33, 35, 148, 250–51
“In a Mist” (Beiderbecke), 213
individualism and consumerism, 64
information technology (Internet), impact on audience and culture, 4, 8–9, 13, 16, 25–26, 41–42, 171
instrumentalist approach to art and culture, 17
instrumental vs. vocal jazz, 24, 37, 217–19, 221
International Association of Jazz Educators (IAJE), 12
international popularity of jazz, 40. See also specific continents and countries
international vs. transnational terms, 268–69n66
inte\rpretation, playing with, 31 intra-opus knowledge, defined, 44 Ives, Charles, 115
Jackendoff, Ray, 106
James Bond movie theme, 230
Janowitz, Hans, 183
Japan, 143
Jarenwattananon, Patrick, 8
Jauss, Hans-Robert, 51
jazz: commercial influence on, 219–20, 241–42; contemporary relevance of, 22–23; as cultural capital, xiv, 19, 252; cultural influence of, 1–3, 4, 66, 75–84, 86–88, 138; definitional issues, xiv, 21–22, 163, 196; economics of musicianship, 3, 4–12; historical adaptability of, 27; as historical artifact, 21, 22–24, 34–36; inward-looking tendency of, 32; loss of coolness, 23–24; as modern, 59–60, 65–66, 157–58, 172, 179–85; moral and musical criticism of, 156–57, 187–91, 192–93; over-complexity issue, 26–27; ownership problem, 135. See also audience; meaning of music; specific eras and styles
Jazz (Janowitz), 183
Jazz Age (1920s): American cultural influence on Europe, 182, 195; consumerism, 178, 182; jazz modernism during, 205–18; and modernism, 178–93; overview, 157; social anxiety in America, 156–57, 187–93; visual art influences, 181, 184, 185–87 “Jazz Ambassadors” tours, 79–81, 82
Jazz at Oberlin (Brubeck), 245
Jazz at the College of the Pacific (Brubeck), 245
Jazz at the Philharmonic (Granz), 241, 242
Jazz Band (Goffin), 181
Jazz Club (BBC radio show), 55–56
jazz criticism, 184
jazz magazines/journalism, birth of, 184–85
jazz manouche (Gypsy Jazz), 99
jazz nationalism, 112
Jazz pår Svenska (Johansson), 133, 140–41
jazz singing, 24, 37, 153, 217–19, 221 “Jazz Wars” (1990s), 20
Jewell, Derek, 78
Johnson, Paul, 178
Jones, LeRoi (Amri Baraka), 134
Jordan, Paul, 232
Judt, Tony, 66
Kind of Blue (Davis), 37, 38, 119
King of Jazz (1930) (film), 196–97
King of Jazz title for Whiteman, 196
Krazy Kat: A Jazz Pantomime (Carpenter), 174
La Crèation du Monde (Milhaud and Cendrar), 172–73, 210
Lambert, Constant, 50
Landgren, Nils, 150
Lang, Eddie, 214
language: English, influence of, 74, 100, 106–7; and glocalization, 106–7, 124–29; jazz as, 40–41, 106 Lauer, Christof, 149
Le Boeuf sur le Toit, Paris, 175–76
Léger, Fernand, 164
Leonard, Neil, 203
Lerdahl, Fred, 106
Levine, Lawrence W., 75
Lewis, John, 239
listening music, jazz as, 182, 207, 218, 224, 227–29, 232–34, 236–37
literary modernism, 157, 162, 168–69, 181, 182–85, 187
Loueke, Lionel, 142
Lowry, Vance, 175
machine, modernist inspiration from, 162–65, 171, 176, 223
Magritte, Rene, 170
marabi, 141
Marching Song (Westbrook), 139
Marinetti, Filippo Tommaso, 162, 163
Marsalis, Branford, 28–29, 30, 33–34
Marsalis, Wynton, 134–35, 251, 252
Martin, David Stone, 243
Martin, Skippy, 229
Martinu, Bohuslav, 174
Masman, Theo Uden, 227
Matisse, Henri, 160, 185–86, 251–52
McBride, Christian, 31
meaning of music: context as element in, 32–33, 49, 50, 53–55; as embedded in culture, 41, 42, 49–50; Europe vs. US, 41, 52–60; historical development, 39–41; jazz as language, 40–41, 106; universality debate, 41–52. See also emotional response to music
media’s role in jazz and popular culture, 18–19, 35–36, 51
Melly, George, 67
melodic expressivity, 28–29, 30, 31–32
Mendl, R. W. S., 52
Meyer, Leonard B., 43–45, 48–49, 50
Middle East, Gillespie’s tour of, 81
Milhaud, Darius, 165, 172–73, 175, 244
modal jazz, 119
modernism: and American cultural influence, 65–66, 67; avant-garde jazz, 53, 108, 175, 218, 236–38, 240; in classical music, 160–61, 162, 165, 170–77, 252; consumerism as outgrowth of, 64; historical overview, 155–59; jazz as modern, 59–60, 65–66, 157–58, 172, 179–85; literary, 157, 162, 168–69, 181, 182–85, 187; as major cultural shift in the West, 177–78; the now as inspiration for, 161, 162–63; post-bop jazz experimentation, 243–52; and resistance to brand America, 87; in visual art, 159–67, 185–87, 200–204. See also bebop; Jazz Age; Swing Era
Moenkhaus, William Ernest, 167–68
Molvaer, Nils Petter, 151, 152
Monk, Thelonious, 145
moral censure of jazz (US), 156–57, 187–91, 192–93
Morello, Joe, 246
Morrison, James, 102
Moscow Nights (Brubeck), 83
Mother Tongue language, influence on melodic construction, 125–27
Moyses, Louis, 175
Mozart, Wolfgang Amadeus, 148
musemes, 124
musicians: context as element in meaning of music, 50–51; emotive vs. technical approach, 30, 223–24; hipster culture stereotype for, 23–24; jazz as universal language for international, 40–41; “paying dues,” 7–9; role in falling audience numbers, 30–31, 33–34
Music USA (radio program), 82
Myers, Marc, 22
national identity, American, 72, 115, 200–201
nationalism, 92, 109–17, 120, 123–37.
See also glocalization
negative vs. positive nationalism, 111–12
New Jazz Studies, 112, 118, 119–20, 121–22, 124, 128–30, 134, 135
newness, American addiction to, 20. See also consumerism; modernism
New Orleans jazz style, 34–35, 219
Newton, Francis (Eric Hobsbawm), 54, 63, 117, 118, 182, 185
New York City, as modern and jazz mecca, 3, 4–11, 167, 170, 179, 204–5
Nguyen Le, 142
“Nightmare” (Shaw), 230
Nisbett, Richard E., 87
“Nocturne” (Griselle), 233
North, Adrian, 26
Norway, 85–86, 130–32, 133, 151–52
Nye, Joseph S., Jr., 61, 62, 65–66, 78, 85
Old Folklore in Swedish Modern (Wallin), 133, 150
opera, creating American, 201, 210–11
Original Creole Orchestra, 191–92
Original Dixieland Jazz Band (ODJB), 40, 181, 192, 193
Page, Jimmy, 67
Panama, 151
Panassie, Hugues, 184
pandiatonicism, defined, 215
Parade (Satie), 171
Paris, France, 160, 170–71, 175–76, 180
pattern running, 29, 30–31. See also harmonic progressions
Payton, Nicholas, 21
Pells, Richard, 66
Perez, Danilio, 151
Pieterse, Jan Nederveen, 93–95
The Plastic People, 84
polysemous nature of jazz, 52–53
popular culture: glocalizations from, 151–53; history of jazz as dance music, 39–40, 155–56, 157, 182, 191; media’s role in jazz’s relationship to, 18–19, 35–36, 51; and need for jazz adaptation, 37–38; relationship to jazz, 3–4, 15–25; and relativism in valuing art, 17–18. See also American cultural influence; entertainment
popular music, 194–95. See also dance music
populism and antielitism, 18–19
Porgy and Bess (Gershwin), 201, 210
positive vs. negative nationalism, 111–12
postmodernist techniques, 117, 129. See also diaspora/transnationalism theory
Prendergast, Roy, 49
prescriptive vs. descriptive views of jazz, 21–22
present as inspiration for modernism, 161, 162–63
presentation of jazz performance, 33–34, 152–53
propaganda tools: Hollywood as, 69, 70–71, 72; jazz as, 75–78, 80–82, 85
racial prejudice and jazz in US, 22, 82, 187–88, 193, 263n76
radio as soft power instrument, 81–82
Radio Rhythm Club, 55
ragtime, 160, 162, 170–71, 173–74, 179
Rantala, Iilo, 104
Rapaille, Clotaire, 51, 127–28
Rava, Enrico, 101
Ray, Man, 166
Raymond Scott Quintette, 202, 222
Real Book, 33
realism, modernism’s reaction to, 158–59, 161, 169–70, 180–81, 186
recording industry, 24, 39–40, 191–93, 194–95, 204–5
recording of music: in consumerist revolution, 66–67; early European jazz, 180, 192; first black band recordings in US, 191–92; first jazz recording, 181; importance for Jazz Age, 182, 211, 215–16; and international spread of jazz, 39, 53–55, 57, 58; as segue from dance to listening, 182
referentialism/expressionism on music’s meaning, 42–43
Reinhardt, Django, 99
relativism, 16–18, 92, 117–24, 129, 130
relevance, jazz’s search for, 37–38
religious objections to jazz, 188, 190
reminiscence bump, defined, 48
Reminiscing in Tempo (Ellington), 209
representationalism in visual art, 158–59, 161, 186
“Requiem” (Tristano), 249
Rhapsody in Blue (Gershwin), 198–99, 201, 204
rhythmic sequencing, 29
“Rhythm of the Day” (Gorman), 216
Richards, Johnny, 237
Robertson, Roland, 97, 112, 122
Rogers, Shorty, 243
romanticism, modernism as reaction to, 158–59
Ross, Alex, 209
Russell, Pee Wee, 213
Sandke, Randall, 118, 119, 129, 130, 135, 239
Sandole, Dennis, 239
Santana, Carlos, 27
Sassoon, Donald, 53
Sauser, Frédéric Louis (Blaise Cendrars), 168–69, 172
Sauter, Eddie, 221, 228–30, 234–35
Scandinavian jazz, 85–86, 126–27, 129–34, 140–41, 150, 151–52
scat, 217
Schneider, Cynthia P., 82
Schulhoff, Erwin, 174
Schuller, Gunther, 239
Scott, Christian, 22
Scott, Emmet J., 77
Scott, Ronnie, 56
Sears, Jerry, 233
Seiber, Matyas, 239
self-indulgence in performance, 30, 33
seriousness factor in audience appreciation, 55, 58–59
sexual license, jazz as leading to, 188, 189, 190
Shavers, Charlie, 222
Shoichi, Yui, 112
Simon, Frances, 127
Simon, George T., 224, 235, 236, 239
Simonyi, Andras, 85
“Singin’ the Blues” (solo by Beiderbecke), 214
Sinicrope, Bob, 12
SME (Spontaneous Music Ensemble), 138–39
Smetana, Bedrich, 114
social anxiety over jazz music, American, 156–57, 187–93
social constructions, art and music as, 50, 59
social dancing, 39–40, 155–56, 157, 182, 191. See also dance music
soft power: American use of, 68–84; defined, 61–62; and halo effect, 86–88; other countries’ use of, 84–86
solo, improvisational. See improvisation
Sousa, John Philip, 160, 176–77
Southern Syncopators, 181
Spontaneous Music Ensemble (SME), 138–39
Stanko, Tomaz, 80
“Stardust” (Hayton as arranger), 232
Starr, S. Frederick, 59
State Department–sponsored jazz tours, 81, 83
Stein, Gertrude, 187
Stewart, Rex, 215
Still, William Grant, 221, 231, 232
Storey, John, 26
Stravinsky, Igor, 42, 43, 160–61, 162, 173–74, 252
“Stretch Music” (Christian Scott), 22
style knowledge, defined, 44
subjective insight, 117–18, 119
Super-Expressive Voice Theory, 46–47
Svensson, Esbjörn, 148–49, 152–53
Sweden, 126–27, 132–33, 140–41, 150
swing and blues as essence of jazz, 20–21. See also big band jazz
Swing Era (1930s–1940s), 157, 187, 219–40. See also big band jazz
symphonic jazz, 203–13, 230–40
syncopated music, early twentieth century, 160
Taborn, Craig, 6
Tagg, Philip, 124
Taylor, Cecil, 211
technical vs. emotive musicianship, 30, 223–24
technology: as inspiration for modernism, 162–65, 171, 176, 178, 223; Internet’s impact on audience and culture, 4, 8–9, 13, 16, 25–26, 41–42, 171; and rise of consumerism, 64
Templeton, Eric, 228
Texier, Henri, 101
Thorndike, Edward, 86
Tin Pan Alley, 157
Tormé, Mel, 239
Township Jazz, South Africa, 141
transnationalism/diaspora theory, 92, 119–24, 129–30, 133–34, 135–36, 268–69n66
Trovesi, Giuanluigi, 103
Tsay, Chia-Jung, 34
Tuomarila, Alexi, 101
Turley, Jonathan, 72
Turner, Mark, 6
United Kingdom, 54–57, 66–67, 96, 138–40, 179, 181–82, 195, 259n52, 261n31, 265n130
United States: art during Jazz Age, 185–87; art/entertainment dichotomy in, 172; classical music’s jazz influences, 175; and jazz influence on Europe, 56, 181, 182; late twentieth-century global power position of, 92–93; as leader of Jazz Age modernism, 182, 187–205; meaning of jazz in, 41, 52–55, 57–59, 60; and modern art’s embrace of jazz, 166–67; national identity, 72, 115, 200–201; racial prejudice and jazz in, 22, 82, 187–88, 193, 263n76; social anxiety over jazz in 1920s, 156–57, 187–93; soft power employment by, 68–84. See also American cultural influence
universal language, jazz as, 40–41, 106. See also meaning of music
USIA (United States Information Agency), 82, 83
van Kriedt, Dave, 245
van’t Hof, Jasper, 140
Västfjäll, Daniel, 45–48, 50, 60
Velvet Revolution, 84
Vertovec, Steven, 120
Victor Talking Machine Company, 39–40, 191–93, 194, 204–5
Vietnam, 142
visual art, modernism, and jazz, 159–67, 169, 181, 184, 185–87, 243–44, 246, 251
visual aspect of performance, 33–34, 152–53
visual imagery in cultural influence, 68
Vitz, Paul, 26
vocalists and jazz singing, 24, 37, 153, 217–19, 221
Voice of America, 67
Wagner, Wilhelm Richard, 116
Wagnleitner, Reinhold, 62, 68, 74, 83
Wallin, Bengt-Arne, 150
Warhol, Andy, 243
Webster, Duncan, xiii
Westbrook, Mike, 139
Western vs. Eastern Europe in response to jazz, 59–60
White, Russell, 98
Whiteman, Paul, 164, 193–208, 213, 214, 221, 222–23, 225, 226, 227–28, 234
whole-tone scale, 207, 211, 215, 216, 219–20
Whyton, Tony, 117, 118, 270n102
Wiener, Jean, 175
Wilson, Timothy DeCamp, 87
Wolff, Janet, 50
Wolpe, Stefan, 235
World War I, 165–66, 178, 181, 187
Wright, Gene, 246
Yamacraw—A Negro Rhapsody (Johnson), 212
“You Got to Be Modernistic” (Johnson), 211–12
younger audiences, shift away from jazz, 3, 13–14, 22–23, 24–27, 86