Arachnophonia: “Is Jazz Dead?”

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Esther (class of 2025) and features insert title info here. Thanks, Esther!

Is Jazz Dead?: (Or Has It Moved to a New Address) by Stuart Nicholson

Is Jazz Dead?  by Stuart Nicholson

Stuart Nicholson’s Is Jazz Dead? delves into the state of jazz in America, especially jazz moving into the 21st century. Nicholson, who is a prominent author of books on figures in jazz, like Billie Holiday and Ella Fitzgerald, comments on how jazz has been evolving – or, in his argument, not evolving. He argues that American jazz has been leaning more towards old-school styles while experimental styles seem to be fading away. Nicholson suggests that jazz has the potential to be revived with modern electronic music, which may introduce new creativity into the genre.

As I read through Nicholson’s book, I thought his critique felt relevant, as he points out that the increasingly conservative nature of American jazz may be due to how recent music education focuses on preserving traditional styles rather than encouraging innovation. Nicholson also notes that European jazz scenes, which have more support from the public, tend to be more vibrant and diverse environments.

I recently got to see jazz up close for the first time at a concert by the David Esleck Trio at our very own Camp Concert Hall. The experience was a great introduction to jazz, as it was relaxed but engaging, which also felt like a counterpoint to Nicholson’s concerns about the genre’s lack of progression (but this is also coming from someone who knows nothing about jazz)!
The trio’s performance was lively, once more reminding me of how fun it is to participate in live performances that we have on campus!

For anyone looking to dive deeper into exploring different music genres, our university’s concerts are a great chance to do so! It’s often free for students, though it’s best to grab tickets early, but tickets are available at the box office during their hours. Nicholson’s book, combined with the Esleck trio’s live performance, personally offered me a rich view of the ongoing dialogue between jazz’s traditional roots and its potential for innovation!

Arachnophonia: Music in Film by Michel Chion

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Naron (class of 2023) and features a book about film music. Thanks, Naron!

Music In Film by Michel Chion
Edited and translated by Claudia Gorbman

Music in Cinema

Summary:
I find this book called Music in Film captivating and quite thought-provoking. The author acknowledges the rich history of music in cinema, from the early days of devices like the praxinoscope and kinetoscope to the diverse range of musical styles and genres that have been integrated into films. It raises questions about the purpose of music in cinema and the complex relationship between music and film. The author also expresses a desire to provide a comprehensive overview of this subject while avoiding oversimplification.

Why I Like This Book so Far:
As a music & film student, I find this book intriguing for several reasons. Firstly, it recognizes the vast history of music in cinema, going beyond the conventional notion of “the cinema” and acknowledging the diverse influences and traditions that have shaped the use of music in films. This inclusive approach aligns with my own belief in the importance of understanding the diverse cultural and artistic contexts of music in cinema.

Secondly, the book raises thought-provoking questions about the purpose of music in films, such as why music is used to accompany moving images and spoken dialogue, and how it can impact the emotional experience of the audience. These questions resonate with my own curiosity and desire to explore the multifaceted relationship between music and film.

Thirdly, the author’s intention to provide a comprehensive overview of significant examples of music in cinema, while acknowledging the limitations of exhaustive detail, is appealing to me as a student. The book offers a balanced and comprehensive approach to studying the subject, without oversimplifying or favoring certain films over others.

The author finds it difficult to view history solely through the lens of winners and losers, or to solely praise masterpieces while disregarding other works. As a result, unlike some current and past writing on the subject, particularly in France, this book may be perceived as indulgent towards a wide range of films and recent aesthetic trends, which may come across as guilty to some. The author’s aim is to inform readers and engage in thoughtful reflection, without resorting to oversimplification. This doesn’t mean that all films are liked, but I do believe that each film deserves recognition for its artistic ambitions, including the intent to entertain.