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'Mike' disc-courses on hot jazz: discursive strategies in the writings of Spike Hughes, 1931-33
Umeå University, Faculty of Arts, Department of culture and media studies.
2009 (English)In: Popular Music History, ISSN 1740-7133, E-ISSN 1743-1646, Vol. 4, no 3, 251-269 p.Article in journal (Refereed) Published
Abstract [en]

This article focus on strategies that are used in the struggle to raise the status of a popular music form. By analysing the journalism of British composer/bassist/recording leader ‘Spike’ Hughes in Melody Maker in 1931-32, the shaping of a critical discourse based in jazz music is studied. By establishing a discriminating aesthetics of jazz promulgated by sophisticated experts, Hughes and others contributed to jazz being spoken of with an intellectualised attitude. This attitude was rooted in jazz’s musical style, stressing how jazz contained new qualities not to be found in established art music - qualities that would contribute to the evolution of music in general. However, since jazz in the thirties was still framed within a commercial production system, the expectations put on a named master like Duke Ellington would be almost impossible to fulfil.

Place, publisher, year, edition, pages
London: Equinox Publishing, 2009. Vol. 4, no 3, 251-269 p.
Keyword [en]
1930s; Duke ellington; hot jazz; jazz; jazz criticism; music journals; Spike Hughes
National Category
Ethnology Musicology
Research subject
Musicology; Ethnology
Identifiers
URN: urn:nbn:se:umu:diva-39815OAI: oai:DiVA.org:umu-39815DiVA: diva2:396436
Projects
Jazzen och jazzmusikern
Available from: 2011-02-10 Created: 2011-02-10 Last updated: 2017-12-11Bibliographically approved

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