The Northern California Chapter of the Society for Ethnomusicology (NCCSEM) will hold its annual meeting on Saturday, March 5, 2011, at San Francisco State University. SEM members, students, faculty, performers, and anyone interested in the field of ethnomusicology are invited to submit proposals for papers, panel discussions, workshops, video screenings, musical performances, or other pertinent events.
All presenters must be members of NCCSEM – You join by registering on the day of the meeting. Please e-mail proposals to chapter president Jeffrey Callen at firstname.lastname@example.org by JANUARY 14, 2011. Notifications will be made in mid February.
Is the future of jazz in its past?
There’s a lot of talk lately about why jazz has been losing its audience despite decades of efforts to build infrastructure. There is hardly a university music program that does not include a jazz studies program and jazz festivals (and affiliated community programs) abound. The place of jazz in musical histories is secure and the tension between the “classical” and “revolutionary” approaches to jazz historiography seems no longer relevant with the revolutionary voices having left the field (or at least become as absent from the media landscape as jazz itself seems to be — who’s carrying on Frank Kofsky‘s work now that he’s gone). The deep rooting of jazz in the African American experience has been subverted by its widespread acceptance as America’s classical music, its one true art form. I think this has implications for the survival of jazz as a vibrant part of America’s soundscape. The classicizing of jazz has been going on for a while.
The publication of Grover Sales’ Jazz: America’s Classical Music in 1984 sparked an intellectual and cultural frenzy. Sales not only transformed jazz from a cultural product rooted in the African American experience to a cultural product rooted in the American experience, but he also reclassified jazz (an urban folk music) as a national classical music. Whether or not Sales was the first to meAntion jazz as America’s classical music is not as important as the amount of publicity the idea received from the first printing of his text…. Today, jazz is more highly regarded as America’s classical music rather than America’s “rare and valuable national treasure.” In my opinion, these are two diametrically opposed concepts. (The Non-Classical Nature of America’s Classical Music by Emmet G. Price III in All About Jazz, 2003).
In my opinion, there has been a big downside to the success of the classicizing of jazz. Like European classical music, there is a general perception that the best jazz has to offer is firmly entrenched in the past, and not in the sense of a tradition and roots to draw upon but dead masters to venerate. This approach stultifies symphony programs and pushes innovative music to the margins. It seems to be doing the same to jazz.
Reposted from UNITED REGGAE
Senegalese artist releases a new album celebrating the relationship between Reggae and the Motherland.
Youssou N’Dour is one of the most famous and great African musicians. He’s a renowned singer, songwriter, and composer who began his career at only 12 ! The king of M’balax is now coming with a new album recorded between Paris and the Tuff Gong Studios in Jamaica alongside legendary musicians like Tyrone Downie (from The Wailers), saxophonist Dean Fraser, guitarist Earl “Chinna” Smith, drummer Shaun “Mark” Samson and bassist Michael Fletcher.
This new album called Dakar-Kingston connects Jamaica, Senegal and the whole Africa. It features 13 tracks including several reggae recuts of Youssou N’Dour classics, a tribute to Bob Marley and special guests like Ayo, Patrice and Morgan Heritage. Check out the EPK of this new effort out on CD since March 8.