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4th Conference of the International Network for Artistic Research in Jazz (INARJ)

Posted: June 11th, 2024 | Filed under: Calls for Papers | Comments Off on 4th Conference of the International Network for Artistic Research in Jazz (INARJ)

International Network for Artistic Research in Jazz (INARJ)
Communities of Practice
October 3-5, 2024
JAM MUSIC LAB Private University for Jazz and Popular Music
Vienna, Austria

The International Network for Artistic Research in Jazz (INARJ) was founded in 2019 in reaction to the increasing relevance of artistic perspectives in the academic discourses in jazz research. INARJ organizes regular symposia as a platform for knowledge exchange and connection between artistic jazz researchers worldwide. The specific focus for the fourth conference is artistic research and communities of practice ranging from geographic communities and the role of place-making and curatorship, networks inside and outside of jazz, communities of pedagogy and education, social communities and marginalized groups, and economic and business communities, to discuss status, strategies, and transformation.

Some conference sessions will be provided in a hybrid format, however, we encourage participants to plan on in-person attendance for more effective engagement in discussions and projects. Presentations should address one or more of the following areas in the form of discussion forums, project presentations, or performance sessions.

Geographic Communities and Placemaking

Creative Placemaking strengthens communities through partnerships across sectors, integrating art, culture, and design activities, and helps advance local economies and social change. Creative Placemaking can be developed as an artistic strategy to bring attention to or elevate community assets, inject new or additional energy, people, resources, or activities into a place, community, issue, or local community, envision new possibilities for a community or place, connect people, places, and economic opportunities via physical spaces or new relationships. What are opportunities, examples, options, and strategies that connect the artistic practice of jazz with communities and placemaking activities and strategies?

Networks Inside and Outside of Jazz

Teitelbaum et al (2008)[1] note that “music is one of the richest sources of interaction between individuals”. The number of collaborations by jazz musicians is traditionally higher than in other musical genres due to the common practice of recording and performing in many different constellations. Jazz performances are highly interactive and as a result, the resulting social and musical networks are rather complex. Networks can be documented via archival, biographical, or various metadata sets and visualized in interactive maps. What is the role of artistic research in documenting existing networks, exploring the influence of networks, and exploring new ways of thinking about networks and changing norms? In which ways can artistic research contribute to the formation of new networks and what are its differences from traditional networks in jazz?

Communities of Pedagogy

Initially, during the rise of jazz as the dominant popular art form reintegrating improvisation as a musical practice in the musical discourse, jazz musicians developed their highly influential musical directions largely through autodidactic listening, practicing, jam sessions, and in touring bands. The development of an academic jazz pedagogy during the 1960s initiated the codification of jazz styles and performance practice. Parallel, rooted in the Lenox School of Jazz’s summer workshops, models of contemporary improvisation were conceived, synthesized, or even improvised resulting in various research devoted to improvisation. Current approaches focus on the notion of ‘play’ and the notion that music can serve as a model for improvisation practice in everyday life. What are new theoretical and organizational models, as well as new practices for institutional partnerships, the teaching of improvisation, teacher education, and theories of improvisation? How can artistic questions and strategies contribute to the development of jazz pedagogy in formal as well as informal learning environments?

Social Communities and Marginalized Groups

Throughout its history, jazz has functioned as a catalyst for social and political change. From early integrated bands to voices of protest for Civil Rights, to raising of awareness of contemporary racial discrimination, jazz musicians played an integral role as social and political activists. For example, during the height of the Cold War, the US Government selected a group of prominent jazz musicians to be worldwide ambassadors for peace. Furthermore, Max Roach’s 1960 release We Insist! Freedom Now! is one of the most important statements of contemporary music. However, jazz is the least diverse art form in terms of gender participation and the use of the term jazz has been widely disputed due to lingering racial connotations. Besides the canonic representations of jazz at established institutions, jazz, and jazz-related practices have participated in the formation of a variety of social communities throughout the world. What contemporary social communities can we observe, are active, and are transformative through jazz practices? On the other hand, what groups are marginalized and what are effective strategies for integration? What is the role of jazz and specifically artistic practice in shaping the society of the future? How can jazz practices help to overcome gaps and conflicts between communities worldwide?

Economic Communities and Artist Teams

The music business has experienced drastic restructuring throughout the 20th century which has accelerated during the digital age. Initially, income from recorded music fueled a thriving support system of record labels and distribution, with live music as a secondary income source and a way to connect to the public. However, the current dominance of streaming services is a convenient and cheap source of access for consumers but has failed to provide a substantial income stream for creators. Consequently, support structures for recorded music have disappeared and the reliance on income from live performances has grown exponentially. The artist now needs to control all aspects of career development and is often confronted with the need for substantial financial investment and increasing economic instability. What are the changes of artistic practices in the context of current communities for economic support and stability? What is the current career trajectory and options for future economic viability and how does this reflect in artistic work?

Presentations – 20-minute presentation followed by 10 minutes of Q&A and discussion
Performance Projects – 20-minute projects followed by 10 minutes of Q&A and discussion.
Open Formats – panels, jam session, focus groups up to 60 minutes
Projects can be shared via recorded materials or live. For live performances, the room allows for a basic combo setup with keyboard, bass, and guitar amps, and drum set. However, it is not possible to allow for rehearsal time and space, and human resources.

The conference will coincide with the launch of the Journal for Artistic Research in Jazz (ARJAZZ) through the Research Catalogue. The journal is administered through a consortium of universities and an INARJ initiative. Conference presentations have the option for submission to the second edition of ARJAZZ with publication pending peer review results.

For further information please visit http://www.artisticjazzresearch.com or contact [email protected].

Please send conference proposals by July 5, 2024, in the form of an Abstract of approximately 200 words or with links to media, a short Bio of not more than 150 words, and an indication of presentation, performance project, or open format (with explanation) to [email protected].

Conference Convenors

Michael Kahr (JAM MUSIC LAB Private University for Jazz and Popular Music Vienna / University of Music and Performing Arts in Graz)
Monika Herzig (JAM MUSIC LAB Private University for Jazz and Popular Music Vienna)
Andrew Bain (Royal Welsh College of Music and Drama, Cardiff UK)
Mike Fletcher (Royal Birmingham Conservatoire)
Matthias Heyman (Koninklijk Conservatorium Brussel / Vrije Universiteit Brussel)

[1] Teitelbaum, T., Balenzuela, P., Cano, P., Buldú, J.M. Community structures and role detection in music networks. Chaos Interdiscip. J. Nonlinear Sci. 18, 043105 (2008).