Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

As jazz enters its second century it is reasserting itself as dynamic and relevant. Boston Globe jazz writer and Emerson College professor Bill Beuttler reveals new ways in which jazz is engaging with society through the vivid biographies and music of Jason Moran, Vijay Iyer, Rudresh Mahanthappa, The Bad Plus, Miguel Zenón, Anat Cohen, Robert Glasper, and Esperanza Spalding. These musicians are freely incorporating other genres of music into jazz--from classical (both western and Indian) to popular (hip-hop, R&B, rock, bluegrass, klezmer, Brazilian choro)--and other art forms as well (literature, film, photography, and other visual arts). This new generation of jazz is increasingly more international and is becoming more open to women as instrumentalists and bandleaders. Contemporary jazz is reasserting itself as a force for social change, prompted by developments such as the Black Lives Matter, #MeToo movements, and the election of Donald Trump.

Jazz musicians. --- Jazz musicians --- Musicians --- music --- art --- jazz --- Jazz --- Social aspects --- History --- History and criticism. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- 2000-2099

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Transforming Vòdún examines how musicians from the West African Republic of Benin transform Benin's cultural traditions, especially the ancestral spiritual practice of vòdún and its musical repertoires, as part of the process of healing postcolonial trauma through music and ritual. Based on fieldwork in Benin, France, and New York City, Sarah Politz uses historical ethnography, music analysis, and participant observation to examine three case studies of brass band and jazz musicians from Benin. The multi-sited nature of this study highlights the importance of mobility, and diasporic connections in musicians' professional lives, while grounding these connections in the particularities of the African continent, its histories, its people, and its present.

Vodou music --- Jazz --- Brass band music --- Music --- Vodou --- Postcolonialism and music --- MUSIC / Ethnomusicology --- RELIGION / General --- Social aspects --- Music and postcolonialism --- Vaudou --- Vodun --- Voodoo (Religion) --- Voodooism --- Voodou --- Vooduism --- Voudon --- Voudooism --- Voudouism --- Voudoun --- Vudu --- Cults --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Brass choir music --- Band music --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Third stream (Music) --- Washboard band music --- Music, Vodou --- Voodoo music --- Sacred music