“You Can’t Dance to It”

Jazz Music and Its Choreographies of Listening

Research output: Contribution to journalArticle

Abstract

Central to dominant jazz history narratives is a midcentury rupture where jazz transitions from popular dance music to art music. Fundamental to this trope is the idea that faster tempos and complex melodies made the music hostile to dancing bodies. However, this constructed moment of rupture masks a longer, messier process of negotiation among musicians, audiences, and institutions that restructured listening behavior within jazz spaces. Drawing from the field of dance studies, I offer the concept of “choreographies of listening” to interrogate jazz’s range of socially enforced movement “scores” for audience listening practices and their ideological significance. I illustrate this concept through two case studies: hybridized dance/concert performances in the late 1930s and “off-time” bebop social dancing in the 1940s and 1950s. These case studies demonstrate that both seated and dancing listening were rhetorically significant modes of engagement with jazz music and each expressed agency within an emergent Afromodernist sensibility.

Original languageEnglish (US)
Pages (from-to)36-51
Number of pages16
JournalDaedalus
Volume148
Issue number2
DOIs
StatePublished - Apr 1 2019

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jazz
dance
music
concert
musician
art
narrative
Jazz
Jazz music
Dance
Dancing
history
performance
Rupture
Music

ASJC Scopus subject areas

  • Arts and Humanities (miscellaneous)
  • Social Sciences (miscellaneous)
  • Political Science and International Relations
  • History and Philosophy of Science

Cite this

“You Can’t Dance to It” : Jazz Music and Its Choreographies of Listening. / Wells, Christopher.

In: Daedalus, Vol. 148, No. 2, 01.04.2019, p. 36-51.

Research output: Contribution to journalArticle

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