“So What:” Jazz Musicians and French Critics in Dialogue, 1918-1959
“So What:” Jazz Musicians and French Critics in Dialogue, 1918-1959
| dc.contributor.advisor | Matteson, Kieko | |
| dc.contributor.author | Holck, Noah | |
| dc.contributor.department | History | |
| dc.date.accessioned | 2024-02-26T20:14:19Z | |
| dc.date.available | 2024-02-26T20:14:19Z | |
| dc.date.issued | 2023 | |
| dc.description.degree | M.A. | |
| dc.identifier.uri | https://hdl.handle.net/10125/107942 | |
| dc.subject | European history | |
| dc.subject | Authenticity | |
| dc.subject | Existentialism | |
| dc.subject | Identity | |
| dc.subject | Jazz | |
| dc.subject | Primitivism | |
| dc.title | “So What:” Jazz Musicians and French Critics in Dialogue, 1918-1959 | |
| dc.type | Thesis | |
| dcterms.abstract | This thesis charts the reception of jazz in France and the genealogy of jazz criticism in France during the interwar and (1918-1939) and postwar periods (1945-1959), with a focus on the dialogue that emerged between jazz race, identity, and authenticity. This discourse originated in France between African American jazz musicians and French audiences in the form of performance and critique. In this thesis, I argue that French jazz criticism was rooted in racially essentialist notions and that jazz musicians, through their music, refuted these racially essentialist characterizations. | |
| dcterms.extent | 117 pages | |
| dcterms.language | en | |
| dcterms.publisher | University of Hawai'i at Manoa | |
| dcterms.rights | All UHM dissertations and theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission from the copyright owner. | |
| dcterms.type | Text | |
| local.identifier.alturi | http://dissertations.umi.com/hawii:12017 |
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