[AMS-announce] CFP: Jazz Perspectives, special issue: rethinking jazz studies through the 1970s

[Announcements for the AMS]

CALL FOR PAPERS 
Jazz Perspectives 
Special Issue - Rethinking Jazz Studies through the 1970s 

Guest Edited by Eric Porter, Associate Professor of American Studies, University of California, Santa Cruz, USA 

The 1970s is a vexed and vexing decade in the field of jazz studies, as it is in other areas of historical and cultural analysis. The variety of musical fusions and experiments that pulled artists and audiences in different directions caused Duke Ellington in 1973 to put a somewhat different spin on his long-standing suspicion of the term “jazz”: “I don’t know how such great extremes as now exist can be contained under the one heading.”  Decades later the 1970s often fare poorly in jazz histories. The decade is sometimes viewed as a period defined more by its aesthetic failures than by its successes or simply as a moment when “nothing was happening” in the music. Yet recent scholarly work, CD reissues, and testimony by artists, fans, and producers indicate not only that much was happening but that it was happening in ways that continue to influence the music world. Among other things, the decade witnessed the political, self-help, and pedagogical projects of African American 
 and m
ultiracial jazz collectives; the influence of the women’s movement on the music of, modes of presentation of, and attitudes toward female jazz musicians; the loft jazz scene; the institutionalization of jazz education; the important role jazz-trained musicians played in the development of other popular musics; the proliferation of independent record companies; and, yes, the birth of jazz neoclassicism.  

The purpose of this issue is to reconsider the place of the 1970s in jazz studies. In addition to showcasing scholarship on important musical phenomena developing during the 1970s, we seek pieces that consider the question of how the incorporation of such phenomena into jazz history and jazz studies might inspire us to reconsider their parameters.  We welcome essays representing a variety of approaches and disciplines.

SUBMISSIONS 

The deadline for submissions is September 1, 2008. Essays should be between 7,000 and 10,000 words, including footnotes or endnotes.  
 
Submissions should be sent by email to Eric Porter (ecporter at ucsc.edu).  

Instructions for authors can be found at www.tandf.co.uk/journals/authors/rjazauth.pdf  

Questions are welcome and should be addressed to Eric Porter. Longer pieces will be considered only after consultation.

ABOUT JAZZ PERSPECTIVES 

Winner of the inaugural ALPSP/ Charlesworth Best New Journal Award 2007, Jazz Perspectives is a refereed, interdisciplinary journal that bridges the jazz-as-music and jazz-as-culture divide of contemporary jazz studies. It also promotes broader international perspectives on the jazz tradition and its legacy. 

www.informaworld.com/rjaz