The Story of the Original Dixieland Jazz Band

Waterman, Richard A.; Brunn, H. O.

doi:10.2307/1520506

Cited by 6 publications

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“…The peculiar, somewhat discordant melody is said to be produced by tuning each of the instruments at a different pitch; and to end some of the strains they occasionally play [with] what we have termed a crazy cadenza. 52 As a matter of fact, although Nieto de Herrera did not mention the Original Dixieland Jazz Band, some portions in her article, scattered in different places, were a literal translation from that article, published one month prior in New York. Likewise, when describing the instrumentation to play 'the jazz', she ultimately portrays the usual format of early creole bands in New Orleans, Los Angeles, Chicago, New York City, and elsewhere in the United States including the Original Dixieland Jazz Band: 'the music for this dance is made with piano, cornet, trombone, clarinet, and drums'.…”

Section: Ospina Romeromentioning

confidence: 99%

The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment

OSPINA ROMERO

2023

Twentieth-Century Music

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After 1917 the word ‘jazz’ disseminated rapidly throughout the world attaining, along the way, a multiplicity of meanings, sometimes related to musical practices from the United States, but often associated with a diverse array of things, objects, ideas, and situations in the worlds of music entertainment, dance, leisure, and fashion. In the Caribbean, this process entailed not only the constitution of jazz as a symbol of social modernity but also revealed a long history of exchanges between the United States and the Caribbean – not to mention the Afrodiasporic origins of jazz. By examining jazz as a by-product and an expression of Caribbean modernity, this article disentangles some of the cultural meanings of the word ‘jazz’ in the Caribbean between 1917 and 1920, considering, ultimately, how imagining jazz as Caribbean was inevitably intertwined with imagining it as modern.

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Section: Ospina Romeromentioning

confidence: 99%

The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment

OSPINA ROMERO

2023

Twentieth-Century Music

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An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues , 1929-1937

Stanfield¹

2002

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The Afro-American Transformation of European Set Dances and Dance Suites

Szwed¹,

Marks²

1988

Dance Res. J.

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It is well acknowledged that the court dances which developed in Europe from the seventeenth century onward spread to the rural areas of Europe and to the new world. What has not been properly recognized is that these dances — the quadrille, the cotillion, the contradance and the like — were taken up by Afro-Americans in North and South America and the West Indies and were modified and adapted to local cultural circumstances. In many cases — especially in the West Indies — they continue to be found today. Yet as similar as these dances may look or sound, their functions are not always necessarily the same as those of their European sources. At one extreme, they were “Africanized” for sacred purposes; at the other, they were re-formed and became the basis of a new world popular culture. An example of the former occurs on the island of Montserrat.There country dance orchestras made up of various combinations of fife, fiddle, concertina or accordion, triangle, and two drums known as the woowoo and the babala (or babla) play for social dancing, but the same music is also used for inducing possession on other occasions, called “jombee dances.” On these latter occasions quadrille dance rhythms are intensified and gradually “Africanized” in order that individuals may become possessed and convey the messages of the spirits.

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The Story of the Original Dixieland Jazz Band

Cited by 6 publications

References 0 publications

The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment

The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment

An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues , 1929-1937

The Afro-American Transformation of European Set Dances and Dance Suites

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