Latest Issue: Vol 10, No 1-2 (2016) RSS2 logo

Jazz Research Journal

Catherine Tackley University of Liverpool
Tony Whyton Birmingham City University

Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music.

The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice.

Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution.

In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.

Jazz Research Network members can subscribe to the journal at a discount.

Indexing and Abstracting

ESCI/Thomson Reuters
International Index to Music Periodicals
RILM Abstracts of Music Literature
The Music Index
European Reference Index (ERIH Plus)

Publication and Frequency May and November

ISSN: 1753-8637 (print)
ISSN: 1753-8645(online)

More information about Packages




Jazz Research Journal special issue: Jazz Television

In an account of Roland Kirk’s appearance on the television programme Soul!, Gayle Wald argues that the mediation of a television camera “renders the affective power of Kirk’s performance more immediate and more suspenseful than it might have been in a nightclub setting” (2015: 124-125). With these words, Wald explodes dominant myths in jazz regarding the primacy of live performance and counters widely-held suspicions regarding the possible accomplishments of jazz television (see Frith 2002: 277-290). As understandings of jazz reach beyond the musicological, scholarship has paid closer attention to questions of production and visual style in small-screen presentations of jazz (McGee 2009: 201-244; Long and Wall 2015; Pillai 2016; Heile et al. 2017) but there remains much to be explored.
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