Jazz Research Journal, Vol. 5.1/5.2 (2011)

Remixing jazz culture: Musical hybridity and collectivity in the New Europe

Kristin McGee
Issued Date: 19 Nov 2012


In the twenty-first century, cosmopolitan musical collectivities reinvigorate the architectural spaces of urban neighbourhoods to forge new engagements with culture and technology. Within the New European city, hybrid economic forums (Lessig) generate musical activities involving both shared practices such as musical bartering and proprietary resources such as state-of-the-art commercial recordings. In this article, I examine the growing phenomena of mixed-mediated musical collectivism by examining the socio-cultural, musical and performative activities of two Dutch groups and their surrounding collectives, Kyteman’s Hiphop Orkest (and collectivity Kytopia) and C-mon & Kypski. By offering an ethnographic and socio-cultural analysis of these two Dutch groups, I illuminate the embeddedness of late-capitalist musical collectivities to European hybrid processes. Contemporary forms of musical collectivism are distinguished from earlier varieties by highlighting participants’ engagement with hybrid practices including mixed-genre creativity; sharing of resources and professional skills, and finally collaborative networks among music and non-arts participants through a combination of local and transnational circuits.

Download Media

PDF (Price: £17.50 )

DOI: 10.1558/jazz.v5i1-2.67


Bohlman, P. (2011) Focus on World Music Series: Music, Nationalism, and the Making of the New Europe, 2nd edn. New York: Routledge.
Brun, R. E. de, P. D. ’T Hart, A. J. van den Hoven van Genderen, A. Pietersma and J. E. A. L. Struick (2000) Een Paradijs vol weelde: Geschiedenis van de Stad Utrecht. Utrecht: Uitgeverij Matrijs.
Cohen, S. (1991) Rock Culture in Liverpool: Popular Music in the Making. Oxford: Clarendon Press.
Florida, R. (2004) The Rise of the Creative Class: And How it’s Transforming Work, Leisure, Community and Everyday Life. Cambridge: Basic Books.
Fonarow, W. (2006) Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Middletown, CT: Wesleyan University Press.
Hebdige, D. (1979) Subculture: The Meaning of Style. London: Methuen and Co. http://dx.doi.org/10.4324/9780203139943
Heffley, M. (2005) Northern Sun/Southern Moon: Europe’s Reinvention of Jazz. New Haven, CT: Yale University Press.
Hoogen, Q. van den (2010) ‘Performing Arts and the City: Dutch Municipal Cultural Policy in the Brave New World of Evidence-Based Policy’. PhD dissertation. Groningen: University of Groningen.
Krims, A. (2007) Music and Urban Geography. New York: Routledge.
Lessig, L. (2008) Remix: Making Art and Commerce Thrive in the Hybrid Economy. New York: Penguin. http://dx.doi.org/10.5040/9781849662505
Mitchell, T. (2004) ‘Doin’ Damage in my Native Language: The Use of Resistance Vernaculars in Hip Hop in Europe and Aotearoa/New Zealand’. In Music, Space and Place: Popular Music and Cultural Identity, ed. S. Whiteley, A. Bennett and S. Hawkins, 108–123. London: Ashgate.
Monson, I. (1995) ‘The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse’. Journal of the American Musicological Society 48(3): 396–422. http://dx.doi.org/10.2307/3519833
Peterson, R., and A. Bennett (2004) ‘Introducing the Scenes Perspective’. In Music Scenes: Local, Tran-Local and Virtual, ed. A. Bennett and R. A. Peterson. Nashville, TN: University of Vanderbilt Press.
Peterson, R. A., and A. Simkus (1992) ‘How Musical Tastes Mark Occupational Status Groups’. In Cultivating Differences, ed. M. Lamont and M. Fournier, 152–86. Chicago: University of Chicago Press.
Ryan, J., and M. Hughes (2006) ‘Breaking Down the Decision Chain: The Fate of Creativity in the Age of Self-Production’. In Cyber Sounds: Essays on Virtual Music Culture, ed. Michael D. Ayers, 239–54. New York: Peter Lang.
Schloss, J. G. (2004) Making Beats: The Art of Sample Based Hip-Hop. Middletown, CT: Wesleyan University Press.
Wald, Gale. 2000. Crossing the Line: Racial Passing in Twentieth Century U.S. Literature and Culture. Durham, NC: Duke University Press.
Webb, P. (2004) ‘Interrogating the Production of Sound and Place: The Bristol Phenomenon from Lunatic Fringe to Worldwide Massive’. In Music, Space and Place: Popular Music and Cultural Identity, ed. S. Whiteley, A. Bennett and S. Hawkins, 66–88. London: Ashgate.
Whelan, A. (2006) ‘Do You Produce: Subcultural Capital and Amateur Musicianship in Peer to Peer Networks’. In Cyber Sounds: Essays on Virtual Music Culture, 57–82. New York: Peter Lang.
Whitehead, K. (1998) New Dutch Swing: Jazz + Classical Music + Absurdism. New York: Billboard Books.
Whiteley, S., A. Bennett and S. Hawkins (2005) Music, Space and Place: Popular Music and Cultural Identity. Aldershot: Ashgate.


  • There are currently no refbacks.

Equinox Publishing Ltd - 415 The Workstation 15 Paternoster Row, Sheffield, S1 2BX United Kingdom
Telephone: +44 (0)114 221-0285 - Email: info@equinoxpub.com

Privacy Policy