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Mar 17, 2021 · The arrival in London of seminal American musicians, especially Louis Armstrong (1932) and Duke Ellington (1933), inspired the British jazz community, generating excited publicity, popular and professional interest – and occasional controversy.
Mar 18, 2021 · This chapter explores the cultural and musical context for the birth of jazz. It examines the styles of music that influenced the early evolution of the music, including ragtime, blues, spirituals, and work songs.
Feb 9, 2018 · Carr explores the cultural significance of the styles of jazz dancing in order to initiate consideration of how the dancers negotiated the complex interplays of ‘race’, class and gender during a turbulent period of recent British history. Download chapter PDF.
- Jane Carr
- 2018
This paper deals with two major tasks: (1) the development of a special theory of the jazz community as an unique form of status com-munity, and (2) a judgment as to the validity of referring to the social world of the jazz musician as a community. It should be mentioned that while this formulation is conceived in terms of the jazz subculture, it
- Pre-1900 - In the beginning. The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans.
- 1900s - The ragtime era. Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA.
- 1910s - A music called jazz. During this period, jazz (or ‘jass’ as it was originally called) became identified as a distinctive musical genre developed primarily by black musicians.
- 1920s - Jazz takes root in Britain. By the mid-1920s jazz was a thriving preoccupation in British culture, and publication of the magazine Melody Maker from 1926 and the BBC’s first broadcasts (principally of dance music) helped to build popularity.
Mar 18, 2021 · It provides detailed biographical information and an overview of the musical contributions of the key innovators in development of jazz, including Louis Armstrong, Duke Ellington, Billie Holiday, Coleman Hawkins, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Ella Fitzgerald, Miles Davis, John Coltrane, Ornette Coleman, and others.
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At its peak of influence around the turn of early twenty-first century, IAJE positioned itself as the focal point for an increasingly connected “global jazz community,” as referred to in its own literature.
