Overview

The study of jazz comes of age with this anthology. One of the first books to consider jazz outside of established critical modes, Jazz Among the Discourses brings together scholars from an array of disciplines to question and revise conventional methods of writing and thinking about jazz. Challenging ""official jazz histories,"" the contributors to this volume view jazz through the lenses of comparative literature; African American studies; music, film, and communication theory; English literature; American studies; history; and philosophy. With uncommon rigor and imagination, their essays probe the influence of various discourses-journalism, scholarship, politics, oral history, and entertainment-on writing about jazz. Employing modes of criticism and theory that have transformed study in the humanities, they address questions seldom if ever raised in jazz writing: What are the implications of building jazz history around the medium of the phonograph record? Why did jazz writers first make the claim that jazz is an art? How is an African American aesthetic articulated through the music? What are the consequences of the interaction between the critic and the jazz artist? How does the improvising artist navigate between chaos and discipline? Along with its companion volume, Representing Jazz, this versatile anthology marks the arrival of jazz studies as a mature, intellectually independent discipline. Its rethinking of conventional jazz discourse will further strengthen the position of jazz studies within the academy.Contributors. John Corbett, Steven B. Elworth, Krin Gabbard, Bernard Gendron, William Howland Kenney, Eric Lott, Nathaniel Mackey, Burton Peretti, Ronald M. Radano, Jed Rasula, Lorenzo Thomas, Robert Walser

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9780822315810

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Reviews

A remarkable variety of voices and perspectives, and yet the overall thrust of the collection--to establish the groundwork on which a field of jazz studies could be founded--is quite clear. Jazz Among the Discourses will have an obvious impact on musicology, simply because nothing like it has ever been attempted. --Scott DeVeaux, University of Virginia A most valuable and engrossing book that will surely be read by all those who write about jazz. Fans will also seek it out. It offers a wealth of perspectives, allowing the reader to learn what people in other disciplines have to say about jazz. --Lewis Porter, author, with Michael Ullman, of Jazz: From Its Origins to the Present

A remarkable variety of voices and perspectives, and yet the overall thrust of the collection--to establish the groundwork on which a field of jazz studies could be founded--is quite clear. Jazz Among the Discourses will have an obvious impact on musicology, simply because nothing like it has ever been attempted. --Scott DeVeaux, University of Virginia A most valuable and engrossing book that will surely be read by all those who write about jazz. Fans will also seek it out. It offers a wealth of perspectives, allowing the reader to learn what people in other disciplines have to say about jazz. --Lewis Porter, author, with Michael Ullman, of Jazz: From Its Origins to the Present

A most valuable and engrossing book that will surely be read by all those who write about jazz. Fans will also seek it out. It offers a wealth of perspectives, allowing the reader to learn what people in other disciplines have to say about jazz. -Lewis Porter, author, with Michael Ullman, of Jazz: From Its Origins to the Present A remarkable variety of voices and perspectives, and yet the overall thrust of the collection-to establish the groundwork on which a field of jazz studies could be founded-is quite clear. Jazz Among the Discourses will have an obvious impact on musicology, simply because nothing like it has ever been attempted. -Scott DeVeaux, University of Virginia

Author Information

Krin Gabbard is Associate Professor of Comparative Literature at the State University of New York, Stony Brook. He is the editor of the companion volume, Representing Jazz, also published by Duke University Press.

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