The jazz market

Laing, Dave; Cooke, Mervyn; Horn, David

doi:10.1017/ccol9780521663205.019

Cited by 3 publications

(4 citation statements)

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“…At the same time, collegiate jazz education emerged as a reconfiguration of gradually disappearing extracurricular jazz scenes. Beginning in the late 1950s, and increasingly so in the following decades, jazz music has faced growing competition from other musical genres such as rhythm and blues, country, and especially rock music; this competition has led to a decline in jazz's popularity (Laing 2002) even within urban African American communities that have traditionally been the source of innovation in jazz and the training ground for future musicians (Rosenthal 1992:170–173). Additionally, new jazz styles such as Bebop that were not geared toward dancing emerged; these were less accessible to the average audience.…”

Section: The Ethnographic Settingmentioning

confidence: 99%

Rituals of Creativity: Tradition, Modernity, and the “Acoustic Unconscious” in a U.S. Collegiate Jazz Music Program

Wilf

2012

American Anthropologist

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In this article, I seek to complicate the distinction between imitation and creativity, which has played a dominant role in the modern imaginary and anthropological theory. I focus on a U.S. collegiate jazz music program, in which jazz educators use advanced sound technologies to reestablish immersive interaction with the sounds of past jazz masters against the backdrop of the disappearance of performance venues for jazz. I analyze a key pedagogical practice in the course of which students produce precise replications of the recorded improvisations of past jazz masters and then play them in synchrony with the recordings. Through such synchronous iconization, students inhabit and reenact the creativity epitomized by these recordings. I argue that such a practice, which I call a "ritual of creativity," suggests a coconstitutive relationship between imitation and creativity, which has intensified under modernity because of the availability of new technologies of digital reproduction.

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Section: The Ethnographic Settingmentioning

confidence: 99%

Rituals of Creativity: Tradition, Modernity, and the “Acoustic Unconscious” in a U.S. Collegiate Jazz Music Program

Wilf

2012

American Anthropologist

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“… 18 However, the achieved sample had a similar profile to national homecare providers in terms of business type, digitalisation and the proportion of public sector-funded and self-funded clients. 22 It also represents the wide range of homecare provider organisation sizes, with small, single operating base businesses represented as well as some of the main UK homecare chains. 22 As such, the study offers novel evidence relevant to informing and supporting the success of UK social care digital transformation programmes.…”

Section: Discussionmentioning

confidence: 99%

“… 22 It also represents the wide range of homecare provider organisation sizes, with small, single operating base businesses represented as well as some of the main UK homecare chains. 22 As such, the study offers novel evidence relevant to informing and supporting the success of UK social care digital transformation programmes. More widely, it provides insight into the relatively neglected perspective of homecare company owners and senior directors/managers regarding planning for and implementing digital systems 5 , 17 with most existing work in this area focussing on the impacts of digitalisation on care workers or homecare clients and their families.…”

Section: Discussionmentioning

confidence: 99%

“…This is likely to disadvantage the smaller sized organisations which make up the majority of homecare providers in the UK. 22 Others described wanting to change how staff were using the digital system having observed deteriorations in the quality and depth of information recorded compared to previous paper-based systems. These areas of change both speak to the government's desired outcomes of the digitalisation of social care 4 in terms of efficiency and person-centredness, signalling the importance of further work on these issues.…”

Section: Discussionmentioning

confidence: 99%

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UK homecare providers’ views about, and experiences of, digitalisation: A national survey

Healey,

Davey,

Liddle

et al. 2024

DIGITAL HEALTH

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Objective Using digital systems to support the management and delivery of social care is a priority for UK governments. This study explored progress towards, and experiences of, digitalisation in the homecare sector and providers’ views on contributing client data to a national policy/research dataset. Methods Over 150 UK homecare providers completed an on-line survey (October–December 2022). The survey was hosted on Qualtrics and comprised fixed- and free-text response questions. The recruited sample aligned with the profile of UK homecare providers in terms of use of digital systems, organisation type and size. Results Almost all respondents (95.5%) were using digital systems, in part or exclusively, to support care delivery. However, many (42.7%) reported a desire to further digitalise or a dissatisfaction with existing systems. Findings highlight the time and work involved in choosing a a software system, with the decision regarded as relatively high risk. Over 50 different software systems were being used across the sample. Most respondents (72.5%) supported the creation of a national dataset on homecare users. However, support and recompense are likely to needed to secure buy-in from what is a predominantly private sector context. Conclusions Findings suggest a complex and changing situation, with numerous different digital systems being used and the sector at different stages of digitalisation. The high-pressure, low margin context of UK homecare appeared to be exerting an influence on progress towards digitalisation. Evaluations of government strategies to stimulate and support digitalisation in this diverse and predominantly private sector context will be valuable.

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The collective organization of contemporary jazz musicians in the UK

Barber

Wall

2012

JAZZ

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This article examines the conditions under which jazz is created as a live music among young musicians in three major UK cities. The analysis uses approaches from political economy and cultural studies, including interviews with jazz musicians and promoters in these local jazz scenes, to explore how the participants organize themselves and, in particular, how they use ideas of collective working to achieve their ends. The authors make the case that the collective has become the primary organizing principle through which contemporary jazz musicians create performance opportunities, sustain production cultures and negotiate their relationships with the music industries in these scenes. This thesis is supported through a detailed examination of the work of local collectives, the semiotic use of collective organization, and the relationship of the collectives to the jazz educational programmes based in those cities.

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The jazz market

Cited by 3 publications

References 0 publications

Rituals of Creativity: Tradition, Modernity, and the “Acoustic Unconscious” in a U.S. Collegiate Jazz Music Program

Rituals of Creativity: Tradition, Modernity, and the “Acoustic Unconscious” in a U.S. Collegiate Jazz Music Program

UK homecare providers’ views about, and experiences of, digitalisation: A national survey

The collective organization of contemporary jazz musicians in the UK

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