253
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

Agency, Social Organization, and the Musical Practices of Jazz Bass Players in Australia

References

  • Berliner, Paul. 1994. Thinking in Jazz. Chicago: University of Chicago Press.
  • Blacking, John. 1995. Music, Culture, & Experience: Selected Papers of John Blacking. Edited by Reginald Byron. Chicago: University of Chicago Press.
  • Born, Georgina, and David Hesmondhalgh. 2000. ‘Introduction: On Difference, Representation, and Appropriation in Music.’ In Western Music and Its Others. Difference, Representation, and Appropriation in Music, edited by Georgina Born and David Hesmondhalgh, 1–58. Berkeley, CA: University of California Press.
  • Camal, Jerome. 2012. ‘Creolizing Jazz, Jazzing the Tout-Monde: Jazz, Gwoka and the Poetics of Relation.’ In Francophone Postcolonial Studies New Series Vol. 3, American Creoles: The Francophone Caribbean and the American South, edited by Martin Munro and Celia Britton, 165–80. Liverpool: Liverpool University Press. https://doi.org/10.2307/j.ctt5vjd80.14
  • Chapman, Dale. 2018. The Jazz Bubble: Neoclassical Jazz in Neoliberal Culture. Oakland, CA: University of California Press.
  • Chevan, David. 1989. ‘The Double Bass as a Solo Instrument in Early Jazz.’ The Black Perspective in Music 17, no. 1/2: 73–92. https://doi.org/10.2307/1214744
  • Currie, Scott. 2017. ‘People Get Ready: The Future of Jazz is Now! by Ajay Heble and Rob Wallace; The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation by Daniel Fischlin, Ajay Heble, and George Lipsitz.’ Ethnomusicology 61, no. 2: 356–62. https://doi.org/10.5406/ethnomusicology.61.2.0356
  • Davis, Francis. 2005. ‘Charlie Haden Liberation Music Orchestra.’ The Village Voice.
  • Dunkel, Mario. 2011. ‘Charles Mingus and Performative Composing.’ In Word and Music Studies: Essays on Performativity and on Surveying the Field, edited by Walter Bernhart, with Michael Halliwell, 229–42. Amsterdam; New York: Rodopi. https://doi.org/10.1163/9789401207454_015
  • Feld, Steven. 2012. Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana. Durham, NC: Duke University Press. https://doi.org/10.1515/9780822394969
  • Fischlin, Daniel, Ajay Heble, and George Lipsitz. 2013. The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation. Durham, NC: Duke University Press.
  • Giddens, Gary, and Scott DeVeaux. 2009. Jazz. New York: W.W. Norton.
  • Gilroy, Paul. 1993. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press.
  • Gioia, Ted. 1989. ‘Jazz and the Primitivist Myth.’ Musical Quarterly 73, no, 1: 130–43.
  • Gioia, Ted. 1997. The History of Jazz. Oxford: Oxford University Press.
  • Givan, Benjamin. 2016. ‘Rethinking Interaction in Jazz Improvisation.’ Music Theory Online 22, no. 3: [1–24]. https://doi.org/10.30535/mto.22.3.7
  • Heyman, Matthias. 2018. ‘Composing the Jazz Bass Revolution: Duke Ellington’s Writing for the String Bass, 1925–1941.’ Jazz Perspectives 11, no. 3: 207–41. https://doi.org/10.1080/17494060.2019.1682638
  • Holgate, Gary. 2014. ‘Interactions in Improvised Music: People at Play.’ PhD diss., University of Sydney.
  • Jackson, Travis. 2012. Blowing the Blues Away: Performance and Meaning on the New York Jazz Scene. Berkeley, CA: University of California Press.
  • Johnson, Bruce. 2000. The Inaudible Music. Sydney: Currency Press.
  • Laver, Mark. 2014. ‘Rebels and Volkswagens: Charles Mingus and the Commodification of Dissent.’ Black Music Research Journal 34, no. 2: 201–27. https://doi.org/10.5406/blacmusiresej.34.2.0201
  • Lewis, George E. 2004. ‘Improvised Music after 1950: Afrological and Eurological Perspectives.’ In The Other Side of Nowhere: Jazz, Improvisation and Communities in Dialogue, edited by Daniel Fischlin and Ajay Heble, 131–62. Middletown, CT: Wesleyan University Press.
  • MacDonald, Raymond A.R., and Graeme B. Wilson. 2006. ‘Constructions of Jazz: How Jazz Musicians Present Their Collaborative Musical Practice.’ Musicae Scientiae 10, no. 1: 59–83. https://doi.org/10.1177/102986490601000104
  • McMullen, Tracy. 2019. Haunthenticity: Musical Replay and the Fear of the Real. Middletown, CT: Wesleyan University Press.
  • Monson, Ingrid. 1996. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.
  • Napier, John. 2004. ‘Re-Organization and Rhetoric: Changes in the Social Organization of North Indian Classical Music.’ Musicology Australia 27, no. 1: 35–53. https://doi.org/10.1080/08145857.2005.10416522
  • Napier, John. 2007. ‘The Distribution of Authority in the Performance of North Indian Vocal Music.’ Ethnomusicology Forum 16, no. 2: 271–301. https://doi.org/10.1080/17411910701554062
  • Neuman, Daniel. 1977. ‘The Social Organisation of a Musical Tradition: Hereditary Specialists in North India.’ Ethnomusicology 21, no. 2: 233–45. https://doi.org/10.2307/850945
  • Oh, Linda. 2005. ‘New Method of Rhythmic Improvisation for the Jazz Bassist: An Interdisciplinary Study of Dave Holland’s Rhythmic Approach to Bass Improvisation and North Indian Rhythmic Patterns.’ BMus Hons diss., West Australian Academy of Performing Arts, Edith Cowan University. https://ro.ecu.edu.au/theses_hons/235/.
  • Ouellette, Dan. 2002. ‘Form and Freedom.’ Strings 17, no. 4: 50–9.
  • Pass, Kate. 2013. ‘A Transcultural Journey: Integrating Elements of Persian Classical Music with Jazz.’ BMus Hons diss., Western Australian Academy of Performing Arts, Edith Cowan University. https://ro.ecu.edu.au/theses_hons/116.
  • Phipps, Benjamin. 2018. ‘Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players.’ PhD diss., University of New South Wales. https://doi.org/10.26190/unsworks/3356
  • Phipps, Benjamin. 2021a. ‘Jazz and Cosmopolitan Practice: The Case of Lloyd Swanton.’ Jazz Research Journal 14, no. 1: 57–78. https://doi.org/10.1558/jazz.36831
  • Phipps, Benjamin. 2021b. ‘Reimagining the Double Bass: Lloyd Swanton and the Necks.’ Journal of Music Research Online 12: [1–12]. https://www.jmro.org.au/index.php/mca2/article/view/264.
  • Phipps, Benjamin. 2022. ‘The Study of Australian Jazz and the Issue of Methodological Nationalism.’ Jazz and Culture 5, no. 1: 52–75. https://doi.org/10.5406/25784773.5.1.03
  • Porter, Eric. 1999. ‘“Dizzy Atmosphere”: The Challenge of Bebop.’ American Music 17, no. 4: 422–46. https://doi.org/10.2307/3052658
  • Rechniewski, Peter. 2008. The Permanent Underground: Australian Contemporary Jazz in the New Millennium. Sydney: Currency House.
  • Reid, Rufus. 2000. The Evolving Bassist. Teaneck, NJ: Myriad.
  • Robson, Andrew. 2020. Austral Jazz: The Localization of a Global Music Form in Sydney. New York: Routledge. https://doi.org/10.4324/9780429455933
  • Rose, Jeremy. 2016. ‘Glocal Dialects in the Sydney Jazz Scene: Indigenisation through the Influence of Oz Rock and Asian Musics.’ Context 41: 35–44. https://contextjournal.music.unimelb.edu.au/no-41-2016/.
  • Rush, Stephen. 2017. Free Jazz, Harmolodics, and Ornette Coleman. New York and London: Routledge.
  • Saul, Scott. 2001. ‘Outrageous Freedom: Charles Mingus and the Invention of the Jazz Workshop.’ American Quarterly 53, no. 3: 387–419. http://www.jstor.org/stable/30041899. https://doi.org/10.1353/aq.2001.0029
  • Shadduck, Anthony. 2006. ‘Charlie Haden, Scott LaFaro, and Harmolodics: Bass Styles in Ornette Coleman’s Free Jazz.’ MMus diss., California State University, Longbeach. https://www.proquest.com/openview/09f965b56f43a6d33f4ca8fbfa01621b/1?pq-origsite=gscholar&cbl=18750&diss=y.
  • Shand, John. 2009. Jazz: The Australian Accent. Sydney: University of NSW Press.
  • Shipton, Alyn. 2001. A New History of Jazz. New York: Continuum.
  • Slobin, Mark. 1993. Subcultural Sounds: Micromusics of the West. Hanover, NH: Wesleyan University Press (University Press of New England).
  • Stanyek, Jason. 2004. ‘Transmissions of and Interculture: Pan-African Jazz and Intercultural Improvisation.’ In The Other Side of Nowhere: Jazz, Improvisation and Communities in Dialogue, edited by Daniel Fischlin and Ajay Heble, 87–139. Middletown, CT: Wesleyan University Press.
  • Stinson, Andrew. 2014. ‘Charles Mingus Played Bass?: Rediscovering a Jazz Soloist through Transcription.’ MMus diss., University of Missouri.
  • Taylor, Sarah. 2018. ‘A Place to Play: An Historical Geographical Perspective on Live Music and Poker Machines in Australian Pubs.’ Historic Environment 30, no. 2: 112–33.
  • Whiteoak, John. 1998. Playing Ad-lib. Sydney: Currency Press.
  • Whiteoak, John. 2003. ‘Jazz.’ In The Currency Companion to Music and Dance in Australia, edited by John Whiteoak and Aline Scott-Maxwell, 374–84. Sydney: Currency Press.
  • Whiteoak, John. 2014. ‘Demons of Discord Down Under: “Jump Jim Crow” and “Australia’s First Jazzband”.’ Jazz Research Journal 8, no. 1/2: 23–51. https://doi.org/10.1558/jazz.v8i1-2.26775
  • Wilner, Donald. 1995. ‘Interactive Jazz Improvisation in the Bill Evans Trio (1959–61): a Stylistic Study for Advanced Double Bass Performance.’ DMA diss., University of Miami.

Discography