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Objetivo Geral:

Fornecer instrumentos crítico-reflexivos sobre os conceitos Música Popular Música Erudita e Jazz. Estudar a produção, práticas e recepção musical em sua intrínseca relação com o contexto e o desenvolvimento da história da música (e também, especificamente, no Brasil). Conhecer e refletir criticamente sobre obras musicais e seus compositores em diversos períodos do cenário jazzístico. Construir visão panorâmica da história e tendências do jazz desde seus primórdios até os dias de hoje. Realizar trabalho de investigação sobre gênero, compositor, obra, prática musical, ou grupo musical do passado ou presente que reflita criticamente sobre a relação entre jazz, história e sociedade brasileira.

Bibliografia Básica:

• Ake, David (2002), “Jazz Traditioning: Setting Standards at Century’s Close”, in Ake, David, Jazz Cultures, California: University of California Press, 146-176; Deveaux, Scott (1991), “Constructing the Jazz Tradition: Jazz Historiography”, in Black American Literature Forum, Vol. 25, No. 3, Literature of Jazz Issue (Autumn, 1991), 525-560; Definição e terminologia Clark, Andrew (2001), “The Delirius Tremens of Syncopations: Jazz and Definition”, in Clark, Andrew (ed.), Riffs & Choruses: a New Jazz Anthology, New York: Continuum, pp. 13-53; Merriam, Alan P., Garner, Fradley H. (1968), “Jazz – The Word”, inEthnomusicology, Vol. 12, No. 3 (September), 373-396; Jazz Diaspora I: Jazz e Globalização Atkins, E. Taylor (2003), “Toward a Global History of Jazz”, in Atkins, E. Taylor, Jazz Planet, Jackson: University Press of Mississippi, vi-xxvii; Nicholson, Stuart (2005), “Out of Sight and Out of Mind: Jazz in the Global Village”, in Nicholson, Stuart (2005), Is Jazz Dead? (Or Has It Moved to a New Address), New York: Routledge, 163-194; Jazz Diaspora II: O Jazz na Europa Ansermet, Ernst-Alexandre (1994), “Bechet and Jazz Visit Europe, in Toledano, Ralph de, Frontiers of Jazz, Louisiana: Pelican Publishing Company, 111-118; Goddard, Chris (1979), “Jazz Reaches Europe”, in Goddard, Chris, Jazz Away from Home, Paddington Press, 9-78; Heffley, Mike (2005), Northern Sun, Southern Moon – Europe’s Reinvention of Jazz, New Haven / London: Yale University Press; Nicholson, Stuart (2005), “Celebrating the Local: The Nordic Tone in Jazz”, in Nicholson, Stuart, Is Jazz Dead? (Or Has It Moved to a New Address), New York: Routledge, 195-222; Sartre, Jean-Paul (1994), “Jazz in America”, in Toledano, Ralph de,Frontiers of Jazz, Louisiana: Pelican Publishing Company, 64-66; Free Jazz & Avant-Garde Jones, Leroi (Amiri Baraka) (2002), “The Modern Scene”, in Jones, Leroi (Amiri Baraka), Blues People: Negro Music in White America, Harper Perennial, 175-236; Jones, Leroi (Amiri Baraka) (2010)

Bibliografia Complementar:

• Ake, David (2002), “Jazz Historiography and the Problem of Louis Jordan”, in Ake, David, Jazz Cultures, California: University of California Press, 42-61; Porter, Lewis (1987), “Guidelines for Jazz Research”, in Bulletin of the Council for Research in Music Education, No. 95, Research in Jazz Education (Winter), pp. 3-12; Williams, K. Leander (2005), “Homes Away From Home – Jazz and The World”, in Taylor, Yuval (ed.), The Future of Jazz, Chicago: A Capella Books, 149-164; Goddard, Chris (1979), “The Serious Composers Meet Jazz”, in Goddard, Chris, Jazz Away from Home, Paddington Press, 113-134;