The family of musical styles known as jazz came into being
around 1900 as several popular black musical idioms coalesced. This
free-flowing, spontaneous music based in improvisation emerged
primarily from ragtime and the blues. But jazz did not remain
solely in the domain of American music, for very quickly it swept
through virtually all of the national culture as fiction, poetry,
film, photography, painting, and classical music came under its
spell. If it's art that expresses a nation's essence best, then
jazz set America's tempo and afforded an artistic pattern for
modernism.
In this book for the nonspecialist Peter Townsend shows how
during an entire century jazz has appeared in a wide diversity of
times and places and in many different cultural settings.
He reveals how jazz surfaced early in America's movies ("The
Jazz Singer," "Strike Up the Band," "Orchestra Wives," "Blues in
the Night") and how it became an aesthetic model serious composers
(George Gershwin, Aaron Copland) did not miss. Jazz has punctuated
literary fiction (Ralph Ellison, Eudora Welty, James Baldwin, John
Clellon Holmes, Jack Kerouac, Toni Morrison) and American poetry
(William Carlos Williams, Carl Sandburg, Langston Hughes, Percy
Johnson). Jazz influenced painting (Jackson Pollock, Romare
Bearden, Stuart Davis, Archibald Motley, and Jimmy Ernst), and
several photographers have devoted their careers to documenting
jazz performers and their music scene (William Claxton, William
Gottlieb, Roy De Carava, Carol Reiff).
Townsend probes the deep-rooted mythology that holds jazz as
indefinable, unteachable, and instinctive with blacks but tough for
whites and that its birthplace was New Orleans brothels, that its
musicians live tragic lives, and that jazz is dominated by males
and despises whiffs of the mainstream.
As modernism swayed to the tempos of jazz and adapted to its
modes, the once clearly defined lines of demarcation faded and jazz
became well established as one of the great musical cultures of the
world.
Peter Townsend is a senior lecturer in the School of Music and
Humanities at the University of Huddersfield in England.
Copublished with Edinburgh University Press
For sale in the U.S.A., Canada, and U.S. dependencies only
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