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T his is p artic u la rly im porta n t b ecau se , a s t h is a rtic le c o nte n d s, ja zz e th no m usic o lo gis ts —m ore t h an m ost o th er s p ecia li s ts in t h e d is c ip lin e--c o m monly w ork in s e ttin g s in w hic h ja zz p erfo rm an ce is a c co rd ed a p la c e o f h ig h v a lu e.

  Ja zz h as been a r e cu rrin g t o p ic in e th no m usi co lo gic al r e se arc h fr o m t h e d isc ip lin e’s beg in nin g s, b ut h as gro w n e xp onen tia lly as a su bje ct in t h e p ast t w en ty ye ars. A t t h e sa me t im e t h e lin es th at d ist in g uish ja zz e th no m usi co lo gy fr o m o th er m od es of ja zz sc ho la rsh ip h ave b lu rre d . It c an b e q uit e h ard t o d ete rm in e, in f a ct, w heth er a ja zz sc ho la r is an e th no m usi co lo gist , m usi c h ist oria n , o r m usi c t h eo rist w it h o ut k n o w in g t h e n atu re o f h is or h er a p poin tm en t. W ork s of ja zz sc ho la rs h ip f r o m a cro ss th e m usi co lo gic al d isc ip lin es ro utin ely parta ke o f b oth e th no gra p hic a n d h ist oric al m eth o d s, a n d o ft e n a im t o e lu cid ate t h e c o nnectio ns b etw een m usi cal so und it se lf a n d m usi c a s an a ctive c o m ponen t o f a so cia l f o rm atio n—o f r a ce, g en d er, g en era tio nal c o ho rt, n atio n, an d so o n. T his blu rry st ate o f a ff air s h as co m e n o t o nly fr o m t h e co nsi dera b le in te rd isc ip lin arit y of b oth t h eo ry an d m eth o d in t h e w ork o f ja zz e th no m usi co lo gist s, b ut a lso f r o m t h e d iff usi on o f eth no m usi co lo gic al a p pro ach es an d id eas out o f st ric tly d isc ip lin ary lin es an d in to m ost ja zz sc ho la rsh ip . H ist oria n s are n early as lik e ly to in te rvi ew m usi cia n s as are e th no gra p hers, a n d w it h t h e “ n ew m usi co lo gic al” t u rn w e a re a ll a s lik e ly to b e in te re st ed in w hat ja zz m usi cia n s an d f a n s th in k a b out w hat t h ey a re d oin g in m akin g a n d list en in g t o m usi c a s we a re in w hat, w hen , w here , a n d h o w t h ey have d one so . If , a s I t h in k is tr u e, it w as re la tive ly easy to d elin eate ja zz sc ho la rsh ip in to h ist oric al, e th no gra p hic , a n d t h eo re tic al c am ps a s la te a s th e m id -1 990s, it is m uch h ard er t o d o so t o d ay.

T he p artic u la r p la ce o f ja zz in e th no m usi co lo gy an d o f eth no m usi co lo gy in ja zz sc ho la rsh ip m ay at le ast in p art b e und erst ood in r e la tio n t o ja zz’s sp ecia l p la ce in A m eric an c u lt u re a n d , m ore o ve r, in t h e u rb an c u lt u re s a ro und t h e w orld w here m an y acad em ic ja zz (e th no )m usi co lo gist s work . T hat is, ja zz e th no m usi co lo gist s te n d t o w ork in c u lt u ra l se ttin g s in w hic h t h e m usi c t h ey st ud y is ve ry well k n o w n a n d t re ate d a s a p re st ig e gen re . A s Krin G ab bard n o te d in t h e in tro d uctio n t o h is g ro und bre akin g c o lle ctio n, J azz A m ong t h e D is c o urs e s , ja zz tr a ve rse d t h e A m eric an “ b ro w ” la n d sc ap e, f r o m b ein g se en a s / seed y an d lo w bro w t o r e fin ed a n d h ig hb ro w , o ve r t h e c o urse o f it s fi rst c en tu ry of e xist en ce, a n d n o w sym boli z e s op ule n ce.

“A dve rtise rs no lo ng er u se ja zz t o c o nno te t h e n ig htlif e a n d sl um min g t h at c an b e p urc h ase d a lo ng w it h t h eir p ro d ucts—j azz c an n o w si gnif y re fin em en t a n d u p per- c la ss statu s, o nce t h e exc lu si ve p ro vi nce o f c la ssi cal m usi c” (1 995, 1 -2 ). T he r e co gnit io n of ja zz in t h e H R-5 7 b ill b y th e U .S . C ong re ss as a “ ra re a n d va lu ab le n atio nal t re asu re ” a ckn o w le d ged a s m uch a s it b est ow ed a c erta in k in d o f c u lt u ra l le g it im acy on t h e m usi c. U nlik e m ost o f eth no m usi co lo gy’ s oth er c o m mon m usi cal r e se arc h a re as—f ro m E w e d ru m min g e n se mble s to A ra b ic m aq am , o r f r o m In d ig en o us cere m onia l so ng f r o m t h e h ig hla n d s of P ap ua N ew G uin ea t o B ulg aria n st ate -ru n f o lk lo ric e n se mble s—m ost ja zz e th no m usi co lo gist s gre w u p im mers e d in t h e m usi c, a n d st ud ie d it a s perfo rm ers lo ng b efo re t h e n o tio n o f sc ho la rly re se arc h o ccu rre d t o t h em . M ore o ve r, a n d in a w ay eve n m ore d ist in ctive ly , ja zz e th no m usi co lo gist s to d ay work in d ep artm en ts where t h e m usi c t h ey st ud y is lik e ly to b e si gnifi c an tly re p re se nte d a s an a p plie d a re a. J a zz is st ill m arg in aliz e d in m an y unive rsi ty sc ho ols of m usi c in c o m pariso n w it h t h e W est ern c la ssi cal t r a d it io n a n d t h e sym pho nic b an d t r a d it io n t h at d om in ate s m uch m usi c e d ucatio n, b ut e ve n so , it is se ld om a b se nt a lt o geth er, a n d m an y sc ho ols have la rg e, vi bra n t ja zz p ro gra m s off erin g st ud y at u nd erg ra d uate a n d g ra d uate le ve ls.

I n t h in kin g t h ro ug h t h e issu es th at d efin e ja zz e th no m usi co lo gy to d ay, a n d t h eir im plic atio ns fo r t h e f u tu re o f ja zz sc ho la rsh ip , I b eg in b y lo okin g a t a n um ber o f im porta n t t o uch st ones of ja zz in t h e h ist ory of e th no m usi co lo gy. A s I st ate d , ja zz h as been p re se nt in e th no m usi co lo gy since e arly in t h e d isc ip lin e’s hist ory , b ut I se e Pau l B erlin er’s book T hin kin g in J azz: T he In fin it e A rt o f Im pro vis a tio n (1 994) a s a f u lc ru m p oin t in so me se nse , t h e fi rst f u ll - le n g th m ono gra p h in t h e d isc ip lin e f o cu se d so le ly on ja zz, a n d a p ro je ct t h at r e m ain s can o nic al n early tw en ty ye ars aft e r it s p ub lic atio n. F ollo w in g a d isc ussi on o f t h e h ist ory of ja zz sc ho la rsh ip in e th no m usi co lo gy I w ill f o cu s on t h e c o nse quen ces o f t h e in st it u tio nal f r a m ew ork s in w hic h m an y ja zz e th no m usi co lo gist s work f o r t e ach in g , sc ho la rsh ip , a n d t h e in te rse ctio n b etw een t h ese t w o a sp ec ts of o ur w ork . F in ally , I c o nclu d e w it h so me (m ost ly sa ng uin e) t h o ug hts ab out t h e b lu rrin g o f su bdisc ip lin ary bound arie s th at I se e a s lik e ly to in cre ase in ye ars to c o m e. H ere I e ch o t h e se ntim en t w it h w hic h D ale O lse n co nclu d ed h is essa y fr o m t h e 1 994 vo lu m e o f T he C oll e g e M usi c 1 / Socie ty N ew sle tte r , “ W orld M usi c a n d E th no m usi co lo g y— U nd erst an d in g t h e D iff ere n ces” : b rie fly, t h e o ccasi onal t ro ub le w e m ay have d ete rm in in g w heth er so meo ne w rit in g a b out ja zz is d oin g e th no m usi co lo gy, a s su ch , is a si gn o f a h ealt h y sc ho la rly d isc ourse . It r e p re se nts one sm all w ay in w hic h w e m ig ht m ove to w ard a r e aliz a tio n o f C harle s Seeg er’s ad m onish men t t h at w e th in k o f “ c ap it a l- M M usi co lo gy” a s th e su pero rd in ate c ate g ory th at su bsu mes va rio us su bcate g orie s—e th no , h ist oric al, t h eo re tic al, syst em atic , a n d so f o rth —w it h in it .

J a zz E th no m usic o lo gy f r o m W ate rm an t o B erlin er D atin g t h e b eg in nin g o f e th no m usi co lo gy is co m plic ate d , si nce it d ep en d s wheth er o ne in clu d es work o f it s pre d ecesso r d isc ip lin e, c o m para tive m usi co lo gy, o r n o t, a n d w heth er o ne f o cu se s on t h e co in ag e o f t h e t e rm , t h e e st ab lish men t o f t h e S ocie ty fo r E th no m usi co lo gy, o r t h e in au g ura tio n o f t h e jo urn al (t h en c alle d E th no -M usic o lo gy ). In a n y case , a cad em ic ja zz sc ho la rsh ip w it h a n e th no m usi co lo gic al b en t c an b e t r a ced if n o t t o t h e b eg in nin g s of Verg lie ch en d e M usic w is se n sc h aft a n d t h e B erlin er P ho no gra m m- Arc h iv , a t le ast t o t h e st art o f it s re al fl o w erin g in t h e U nit e d S ta te s in t h e la te -1 940s an d e arly- 1950s. M ost o f t h e w ork f r o m b efo re t h e 1 980s te n d ed n o t t o d eal w it h ja zz a s a p rin cip le su bje ct o f re se arc h , b ut r a th er in co rp ora te d r e fe re n ces to it a s a p oin t o f co m pariso n w it h o th er k in d s of m usi c. T his co uld w ell h ave b een b ecau se ja zz it se lf se em ed t o o c lo se , t o o f a m ilia r, o r in so me in st an ces to o c o m merc ia l o r t o o “ a c cu lt u ra te d ” t o b e a n a p pro p ria te p rim ary are a o f st ud y fo r a n e th no m usi co lo gist .

Routin ely when ja zz g ot c lo se a tte n tio n in t h is m ate ria l it d id so a s evi den ce in c o m para tive st ud ie s of e it h er t h e c u lt u re s of t h e A fr ic an d ia sp ora o r o f t h e p ro cess of m usi cal a ccu lt u ra tio n in m od ern it y .

R ic h ard W ate rm an ’s “’H ot’ R hyt hm in N eg ro M usi c,” p ub lish ed in t h e fi rst issu e o f t h e Jo urn al o f t h e A m eric an M usic o lo gic al S ocie ty in 1 948, is one o f t h e fi rst su ch p ie ces, a n d is no ta b le f o r p re d atin g th e f o und in g o f t h e S EM a n d it s fla g sh ip jo urn al b y nearly a decad e. T he a rtic le is a r e m ark a b le p ie ce, a n d e st ab lish ed so me poin ts th at w ould b e d eb ate d f o r d ec ad es, a n d t h at, in f a ct, c o ntin ue t o in fo rm sc ho la rsh ip t o d ay, if in d iff ere n t t e rm s. T he cen tr a l p oin t o f t h e a rtic le , a s W ate rm an p uts it is to e st ab lish t h e “e sse ntia l h o m ogen eit y of t h e st yle” o f r h yt hm f o und in t h e m usi c of A fr ic a a n d A fr ic an -d esc en d ed c o m m unit ie s in t h e N ew W orld ( 2 4). T he a rtic le a d dre sse s in p artic u la r t h e d iff ere n tia l a m ount o f / Afr ic an -b ase d m ate ria l in t h e m usi c o f d iff ere n t d ia sp oric c o m munit ie s, a n d t h e u se o f t h is as a m easu re o f le ve ls of hyb rid iz a tio n a n d a ccu lt u ra tio n. W ate rm an ’s artic le w as im porta n t, n o t o nly becau se it e st ab lish ed t h e o utlin es of a sc ho la rly co nte xt fo r st ud yi ng ja zz a s an A fr ic an A m eric an m usi c, b ut a lso b ecau se it m ad e a st ro ng c ase f o r e th no m usi co lo gy in g en era l b y in se rtin g m usi c a s a c rit ic al k in d o f e vi den ce in M elvi lle H ersk ovi ts’ s la rg er a n th ro p olo gy of A fr ic an “ re te n tio ns” in t h e d ia sp ora (H ersk ovi ts 1 990 [1 941]).

O th er st ud ie s fr o m t h e e arly hist ory of A m eric an e th no m usi co lo gy th at r e fe re n ce ja zz t e n d ed t o d o so in p assi ng . F or in st an ce, A la n M erria m a n d E d C ra y both p oin te d t o ja zz a s a k e y typ e in e st ab lish in g a t h eo re tic al sc ale f o r t h e a n alysi s of m usi cal a n d cu lt u ra l a ccu lt u ra tio n (M erria m 1 955, 3 2; C ra y 1961, 1 0). C harle s S eeg er’s use d ja zz a s an e xa m ple f o r d isc ussi ng t h e p ro b le m s of “p re sc rip tive ” a n d “ d esc rip tive ” m usic n o ta tio n, p oin tin g t o t h e nearly in fin it e va ria tio n in t im bre a n d r h yt hm ic in te rp re ta tio n p ossi ble in t h e m usi c t h at is m ore o r le ss ir re p ro d ucib le in st an d ard n o ta tio n (1 958, 1 92-1 94). A f e w e th no m usi co lo gist s fo llo w ed u p W ate rm an ’s le ad b y usi ng ja zz a s evi den ce o f A fr ic an r e te n tio ns in t h e d ia sp ora —n ota b ly , f o r in st an ce, M ie czysl aw K oli n sk i lo oke d a t th is quest io n t h ro ug h a n e sse ntia lly m usi c-a n alyt ic al f r a m e a s la te a s th e 1 980s in h is st ud y of “ re it e ra tio n q uo tie n ts” in m elo d y (1 982). S till o th ers sim ply poin te d t o ja zz a s one o f t h e m an y kin d s of m usi c e th no m usi co lo gy sh ould c o ncern it se lf w it h b ecau se o f it s p ro m in en ce t h ro ug ho ut t h e w orld . W illa rd R ho d es, w ho se w ork a s an A fr ic an ist m ig ht h ave p re d isp ose d h im t o se e ja zz a s an im porta n t k in d o f m usi c n o t o nly due t o d ia sp oric c o nnectio ns but also t o t h e m an y ja zz b an d s pop ula r in c it ie s th ro ug ho ut t h e co ntin en t, r e it e ra te d su ch a c la im o n n um ero us occasi ons th ro ug ho ut t h e 1 950s. W rit in g in A fr ic an M usic , f o r in st an ce, h e sa id t h e d isc ip lin e sh ould t a ke a s it s o b je ct o f st ud y th e w id est ra n g e o f m usi c p re vi ousl y ig no re d b y m usi c h ist oria n s, in clu d in g no t o nly In d ig en o us m usi cs an d A si an c la ssi cal m usi cs, b ut a lso p op ula r m usi c a n d d an ce, in clu d in g “ ja zz a s well a s m ost o f t h e co m merc ia l m usi c t h at c lo gs our a ir - w ave s” (1 956, 7 1).

B y 1980 ja zz h ad b eco m e m uch m ore c le arly em bed ded in A m eric an a cad em ia t h an it w as in t h e 1 950s an d 6 0s (t o sa y no th in g o f t h e 1 940s, w hen W ate rm an w as writ in g ), a n d eth no m usi co lo gist s had la rg ely m ove d b eyo nd t h e e arly quest io ns in w hic h d isc ussi ons of ja zz w ere lo d ged . H ersk ovi ts was cle arly / rig ht. W e h ave r e ach ed a c o nse nsu s on t h e c o nsi dera b le A fr ic an c o nte n t in b la ck c u lt u re t h ro ug ho ut t h e d ia sp ora , w heth er o ne lo oks fo r it in B ra zilia n r e lig io n, C ub an f o od , o r A m eric an m usi c; a n d t h e se arc h f o r A fr ic an t r a it s is no lo ng er, it se lf , a c o m pellin g re se arc h a ctivi ty . N atu ra lly , t h is in si ght w as no t g ain ed si m ply fr o m st ud ie s of ja zz, b ut w as fo und in sc ho la rsh ip o n a ll k in d s of B la ck sa cre d a n d se cu la r m usi c. I lim it m y disc ussi on h ere t o ja zz st ud ie s, f o r t h e sa ke o f c o ncisi on, b ut in f a ct ja zz sc ho la rsh ip — m uch lik e ja zz m usi c—h as se ld om b een d isc onnecte d f r o m g osp el, R &B , o r b lu es. B y th e 1 980s R ho d es’ s heartfe lt p le a t o in clu d e ja zz a n d o th er p op ula r m usi cs wit h in t h e p urvi ew o f eth no m usi co lo gy had b een p ro fo und ly em bra ced . S ch o la rs in A fr ic an A m eric an st ud ie s had p ro d uced a n um ber o f c an o nic al ja zz m ono gra p hs th at c o uld b e c alle d “ so cio -m usi cal, ” in clu d in g A m ir i B ara ka ’s B lu es P eo p le (w rit te n u nd er t h e n am e L eR oi J o nes) (1 963), A . B . S pellm an ’s F our L iv e s in t h e B eb op B usin ess (1 966), a n d A lb ert M urra y’ s Sto m pin g t h e B lu es (1 976). S till, a t t h is poin t m ost e th no m usi co lo gy th at d isc usse d ja zz d id so e it h er in p assi ng as a f a m ilia r c o m pariso n c ase f o r t h e d isc ussi on o f a m ore d ist an t p rim ary re se arc h su bje ct (a s in S te ve n F eld ’s 1981 a rtic le “ ‘F lo w Lik e a W ate rfa ll’ : t h e M eta p ho rs of K alu li M usi c T heo ry” ) o r a s a case t h ro ug h w hic h t o u nd erst an d a m ore t h eo re tic al p oin t, su ch a s m usi cal c h an g e (a s in M arg are t K arto m i’s 1981 st ud y of m usi c an d c u lt u re c o nta ct) o r u rb an iz a tio n (a s in A dela id a R eye s Sch ra m m’s “E xp lo ra tio ns in U rb an E th no m uisc olo gy: H ard L esso ns fr o m t h e S pecta cu la rly Ord in ary” f r o m 1 982).

I n a 1 987/8 8 a rtic le , “ E th no m usi co lo gy an d J a zz R ese arc h : A S ele ctive V ie w poin t,” E ddie S . M ead ow s la id o ut a c rit ic al a rg um en t f o r e th no m usi co lo gy as a st artin g p oin t f o r ja zz sc ho la rsh ip , n o tin g t h at h ist oria n s had o ft e n h ad o nly lim it e d u nd erst an d in g o f A fr ic an m usi c it se lf , a n d t h us no t h ad a c le ar b asi s fr o m w hic h t o m ake a rg um en ts ab out ja zz’s Afr ic an a n cest ry , a n d t h at e th no m usi co lo gy had a m ore so phist ic ate d h ist ory of m usi cal t r a n sc rip tio n, t h us off erin g b ette r t o ols (in te lle ctu al a n d p ra ctic al) f o r u nd erta kin g a n alysi s of t h e m usi c it se lf . M ead ow s’s arg um en ts cle arly ech o e arlie r w ork in t h e d isc ip lin e, b ut a lso p oin t in t h e d ir e ctio n o f t h e f u tu re , in w hic h ja zz w ould b eco m e a k e y o b je ct o f st ud y in e th no m usi co lo gy in it se lf .

J a zz E th no m usic o lo gy S in ce t h e 1 9 90s, B erlin er a n d B eyo nd 2 / It m ay se em a b it e xtre m e t o su ggest t h at o ne b ook, B erlin er’s T hin kin g in J azz a cte d a s a f u lc ru m in d efin in g ja zz in e th no m usi co lo gy, a n d ye t it is hard n o t t o se e it t h at w ay. C erta in ly n o si ng le w ork o f sc ho la rsh ip c re ate s a p ara d ig m sh if t b y it se lf ; B erlin er d re w h eavi ly on t h e h ist ory of e th no m usi co lo gic al sc ho la rsh ip r e vi ew ed a b ove , a s well a s on B ru no N ettl’s se min al a rtic le p ub lish ed in t h e M usic al Q uarte rly , “ T ho ug hts on Im pro vi sa tio n” (1 974). M ore o ve r, h is book o nly work e d a s a fu lc ru m t o t h e e xte n t t h at la te r p ub lic atio ns m ove d in t h e d ir e ctio ns he su ggest ed . S till, t h is was a r e m ark a b le vo lu m e. A f o cu s en tir e ly o n ja zz a s it s prim ary ob je ct o f st ud y, b ase d o n e xte n si ve in te rvi ew a n d p artic ip an t o b se rva tio n-o rie n te d fi e ld w ork , a n d in co rp ora tin g d eta ile d m usi cal t r a n sc rip tio ns an d a n alysi s alo ng si de c lo se co nsi dera tio n o f t h e ja zz sc en e a s a so cia l u nit , a ll in t h e se rvi ce o f und erst an d in g t h e w ays ja zz m usi cia n s th in k a b out so lo i m pro vi sa tio n m ad e T hin kin g in J azz a n u nusu ally im porta n t b ook. F ew ja zz st ud ie s of a n y kin d —e th no gra p hic , h ist oric al, o r a n alyt ic al —si nce t h en h ave ig no re d B erlin er’s w ork .

B erlin er w as in a g ood p osi tio n in t h e e arly 1990s to w rit e t h is p artic u la r b ook. H is pre vi ous pro je ct, S oul o f M bir a (1 978) a n d t h e asso cia te d r e co rd in g h e h ad p ro d uced o f S ho na m usi c f r o m Z im bab w e w as can o nic al b y th at t im e, a n d d isp elle d a n y co ncern s th at b y fo cu si ng o n m usi c t h at w as clo se t o h o m e a n d f a m ilia r t o m ost A m eric an m usi c sc ho la rs he m ig ht n o t b e d oin g “ re al” e th no m usi co lo gy. B erlin er’s work w as by no m ean s th e fi rst o r eve n t h e m ost im porta n t t o a d dre ss musi c f r o m t h e r e se arc h er’s o w n m usi cal w orld . A dela id a R eye s Sch ra m m’s work d isc usse d ab ove w as su re ly m ore in flu en tia l in t h is re g ard , a m ong o th ers. In a n y case , it is ab und an tly cle ar t h at T hin kin g in J azz w as em bra ced as a w ork o f e th no m usi co lo gy, a m ong o th er t h in g s by it s se le ctio n fo r t h e S EM ’s M erria m p riz e t h at ye ar. B erlin er’s book w as fo llo w ed alm ost im med ia te ly by In g rid M onso n’s S ayin g S om eth in g (1 996), a sh orte r vo lu m e, a n d o ne m uch m ore d eep ly in ve sted in p ost stru ctu ra list so cia l t h eo ry . T he b ook e xp lic it ly fo llo w s up B erlin er’s quest io ns ab out t h e w ays musi cia n s co ncep tu aliz e im pro vi sa tio n in t h e a ct o f p erfo rm an ce, a n d d ra w s on so cio lin g ust ic s—d erive d la rg ely fr o m M ik h ail B akh tin ’s work a n d it s in te rp re ta tio n b y lin g uist ic a n th ro p olo gist s on t h e o ne h an d , a n d fr o m C harle s Peir c e’s se mio tic s on t h e o th er—a nd o n P ie rre B ourd ie u ’s pra ctic e t h eo ry to u nd ers ta n d t h e w ays rh yt hm se ctio n p la ye rs work w it h so lo ist s to c re ate c o ll e ctive ly im pro vi se d m usi c in m od ern ja zz. T ra vi s Ja ckso n’s se min al a rtic le , “ J a zz 3 / Perfo rm an ce a s Rit u al: T he B lu es Aest hetic a n d t h e A fr ic an D ia sp ora ” (2 000), a n d h is m ore r e cen t b ook, B lo w in ’ t h e B lu es A w ay (2 012), c an b e se en a s a c rit ic al a d dit io n t o t h is lin e o f re se arc h . J a ckso n f o llo w s up t h e p re vi ous tw o a u th o rs’ w ork , d ra w in g h eavi ly also o n t h e e th no gra p hy of p erfo rm an ce a n d so cio lo gy of t h e a rts an d t h eir D urk h eim ia n in te lle ctu al lin eag e (n o ta b ly Vic to r T u rn er’s st ud ie s of r it u al) t o p ro p ose n o t o nly th e so lo ist a n d t h e r h yt hm se ctio n a s signifi c an t o b je cts of eth no gra p hic st ud y, b ut a lso t h e “ sc en e.” T his te rm , d ra w n f r o m th e a rg ot o f t h e ja zz so cia l g ro up it se lf , p la ces m usi c in a n e xp lic it ly c o ncre te , r e al, e m bod ie d w orld t h at in clu d es m usi cia n s, b ut a lso list en ers, c lu b o w ners, so und e n g in eers, a n d a r a n g e o f o th er a cto rs who m ake m usi c p ossi ble a n d m ean in g fu l. A ll t h re e a u th o rs h ave w rit te n in w ays th at w ere c o nsc io us of ja zz’s hist oric al d im en si on—e ach m ake s re fe re n ce t o e ve nts, r e co rd in g s, a n d m usi cia n s fr o m t h e p ast , a n d e ach c o nte xtu aliz e s th eir w ork in r e la tio n t o a k in d o f r o ug h p erio d iz a tio n t h at se es, a t le ast im plic it ly , a f u nd am en ta l b re ak so mew here a ro und 1 942 w it h t h e ad ve nt o f m od ern ja zz—a nd ye t n o ne t a ke s th e d ia ch ro nic d im en si on a s an o b je ct o f r e se arc h , a s su ch . J a ckso n c o m es th e clo se st, si tu atin g h is work q uit e sp ecifi c ally in t h e la te r- 1 990s New Y o rk ja zz sc en e, b ut st ill, t h e h ist oric a l d im en si on is no t t h e p rin cip le f o cu s of t h ese p ub lic atio ns.

B eyo nd t h ese , t h e 2 000s have se en t h e p ub lic atio n o f a m uch w id er r a n g e o f st ud ie s of ja zz in e th no m usi co lo gy, m an y, t h o ug h no t a ll, o f t h em a d din g a n e xp lic it ly hist oric al o r h ist orio gra p hic d im en si on. S te ve n F . P ond ’s book o n H erb ie H an co ck’s H ead hunte rs pro je ct (t h e a lb um a n d t h e b an d ) is in d ic ative o f o ne d ir e ctio n t h ese st ud ie s have t a ke n , a s is m y artic le o n t h e id ea o f m usi cal g en iu s an d ja zz h ist orio gra p hy fr o m t h e vo lu m e I c o -e d it e d w it h B ru no N ettl o n m usi cal im pro vi sa tio n (P ond 2 005; S oli s 2009).

B oth p ie ces lo ok a t t h e m usi c o f c an o nic al fi g ure s an d r e co rd in g s fr o m ja zz’s past , b ut b oth in ve stig ate t h em in p art t o u nd erst an d th e h ist orio gra p hic m od e—w hat I c a lle d t h e “ h ist oric al im ag in atio n” e lse where —a s a f u nd am en ta l p art o f ja zz c u lt u re s (S olis 2008, 2 ). B oth c an a lso r e aso nab ly be t h o ug ht o f a s ora l h ist orie s, a n d b oth e n g ag e in c erta in w ays wit h t h e t h en - b urg eo nin g fi e ld o f m em ory st ud ie s. Im porta n tly , b oth w ork s built o n t h e b asi c p re m ise o f e th no m usi co lo gy, fi rst c o d ifi e d b y Ala n M erria m in T he A nth ro p olo gy o f M usic , t h at w ork in t h e d isc ip lin e co uld —a nd sh ould —sh ow t h e w ays th at m usi c in c u lt u re is m ad e up o f m utu ally in te rfa cin g f e ed back lo op s betw een t h e d om ain s of 4 / sound , c o ncep t, a n d b eh avi or (M erria m 1 964, 3 5). T hese a re as h ave b een f u rth er e la b ora te d b y a r a n g e o f sc ho la rs, in clu d in g K ir st in M cG hee (2 009), M onic a H air s to n-O ’C onnell (2 007), K evi n Felle zs (2 011), a n d o th ers.

E th no m usi co lo gist s have a lso d one c o nsi dera b le r e se arc h in t h is t im e in t h e p artic u la r a re a o f ja zz e d ucatio n, w it h r e su lt s th at h ave c le ar p olic y im plic atio ns fo r ja zz p ed ag ogy, e sp ecia lly at t h e te rtia ry le ve l. J o hn M urp hy’ s artic le , “ B eyo nd t h e Im pro vi sa tio n C la ss: L earn in g t o Im pro vi se in a U nive rsi ty Ja zz S tu d ie s Pro g ra m ” (2 009) a n d K en neth P ro uty’ s book K no w in g J azz: C om munit y , P ed ag ogy, a n d C an o n in t h e In fo rm atio n A ge (2 011) a re e xe m pla ry in t h is re g ard . B oth t a ke t h e t o ols an d id eas of e th no m usi co lo gy— p artic u la rly th e id ea t h at m usi cal le a rn in g c o nst it u te s a k in d o f en cu lt u ra tio n—t o a rg ue f o r a r e se arc h -b ase d m eth o d olo gy in ja zz p ed ag ogy. T heir g oals are so mew hat d iff ere n t, M urp hy exp lo rin g th e r a n g e o f se ttin g s “b eyo nd t h e im pro vi sa tio n c la ss” w here st ud en ts in a p ro gra m lik e t h at a t t h e U nive rsi ty of N orth T e xa s le arn t o im pro vi se a n d le arn t o “ th in k in ja zz,” a n d P ro uty lo okin g at t h e w ays a k in d o f n o rm ative c an o nic h ist oric al im ag in atio n in fo rm s m uch ja zz e d ucatio n, b ut t h e t w o a rtic u la te w it h o ne an o th er n ic ely .

A ll o f t h ese t o p ic s, n o t in cid en ta lly , h ave b een in ve stig ate d b y a ra n g e o f ja zz sc ho la rs outsi de e th no m usi co lo gy as well o ve r t h is p erio d f r o m t h e m id -1 990s to t h e p re se nt. K rin G ab bard ’s c o lle ctio n, J azz A m ong t h e D is c o urs e s (1 995), w as a t u rn in g p oin t fo r c u lt u ra l st ud ie s of ja zz, in a w ay sim ila r t o Thin kin g in J azz , a lt h o ug h a s an e d it e d vo lu m e it in clu d ed c o nsi dera b ly m ore sc ho la rs. It b ro ug ht fi lm , lit e ra tu re , m usi c h ist ory , a rt h ist ory , a n d o th er A m eric an st ud ie s sc ho la rs to geth er t o t h in k a b out t h e im porta n ce o f ja zz t o t h e la rg er t w en tie th c en tu ry . F ollo w in g t h is, sc ho la rs fr o m t h o se d isc ip lin es pub lish ed a w id e r a n g e o f st ud ie s in sp ir e d b y it s exa m ple . S herrie T u cke r d re w o n f e m in ist t h eo ry an d hist oric al w om en ’s st ud ie s to e xp lo d e t h e (n early) a ll- m ale ja zz h ist oric al n arra tive in S w in g S hif t : A ll- G ir l B an d s o f t h e 1 940s (2 000); A ja y Heb le , o rig in ally a sc ho la r o f C an ad ia n lit e ra tu re , h as e xp lo re d im pro vi sa tio n a t g re at le n g th in h is book L an d in g o n t h e W ro ng N ote : J azz, D is so nan ce, a n d C rit ic al P ra c tic e (2 000), in t h e vo lu m e h e e d it e d w it h D an ie l F isc hlin , T he O th er S id e o f N ow here : Jazz, Im pro vis a tio n, a n d C om munit ie s in D ia lo gue (2 004), a n d th ro ug h t h e jo urn al C rit ic al S tu d ie s in Im pro vis a tio n ; E ric P orte r’s W hat is t h is T hin g C alle d J azz (2 002) lo oke d a t ja zz m usi cia n s as / org an ic in te lle ctu als an d a ctivi st s, d ealin g e xte n si ve ly wit h m usi c as polit ic al c u lt u re ; G uth rie R am se y, J r. u se d t h e ju xta p osi tio n o f crit ic al A fr ic an A m eric an st ud ie s an d f a m ily ora l h ist ory to w eave a c o m pellin g st ory ab out ja zz in r e la tio n t o o th er p ost -w ar B la ck m usi cs in R ac e M usic (2 003); a n d a m ong D avi d A ke ’s m an y co ntr ib utio ns in h is tw o vo lu m es of e ssa ys, Jazz C ult u re s (2 002) an d Jazz M atte rs (2 010), a re c rit ic al st ud ie s of ja zz e d ucatio n, lo okin g a t t h e e n cu lt u ra tin g f o rc e o f t h e im pro vi sa tio n c la ss, a n d a t th e w ays unive rsi ty ja zz p ro gra m s cre ate ja zz sc en es. T hese a re , o f co urse , o nly a f e w h ig h p oin ts fr o m a lit e ra tu re t h at is certa in ly to o la rg e t o d isc uss at t h e le n g th it d ese rve s here ; t h e p oin t o f r a isi ng th em is th at t h ey are a ll in d ia lo gue w it h B erlin er, M onso n, Ja ckso n, a n d o th er e th no m usi co lo gic al ja zz st ud ie s, a ll o f t h em u se m eth o d s dra w n f r o m e th no m usi co lo gy at t im es, a n d t h ey all c o ntr ib ute t o t h e o ng oin g sc ho la rly co nve rsa tio ns in e th no m usi co lo gy, e ve n a s th ey m ig ht n o t se e t h eir w ork a s eth no m usi co lo gy p er s e . T his will b e a p oin t I r e tu rn t o in t h e co nclu si on.

Te ach in g J a zz E th no m usic o lo gy T o day A s I sa id in t h e in tro d uctio n, I t h in k t h at a c rit ic al p oin t t o b ear in m in d w hen t h in kin g a b out t h e p re se nt a n d f u tu re o f ja zz in e th no m usi co lo gy (a n d o f e th no m usi co lo gist s in ja zz st ud ie s) is th at m ost , if n o t a ll, ja zz sc ho la rs co m e t o t h e a cad em ic st ud y of t h e m usi c w it h a lif e -lo ng h ist ory as fa n s, a n d in m an y case s pra ctit io ners, o f t h e m usi c. S om e, su ch a s Geo rg e L ew is, w ho se A Pow er S tro ng er t h an It s e lf (2 008) c h ro nic le s th e h ist ory of t h e A sso cia tio n f o r t h e A dva ncem en t o f C re ative M usi cia n s in C hic ag o, a re im pro vi sing m usi cia n s work in g a t t h e h ig hest le ve l a s b oth sc ho la rs an d p erfo rm ers. In a d d it io n, m an y ja zz sc ho la rs te ach a t in st it u tio ns—sc ho ols of m usi c a n d m usi c d ep artm en ts— w it h st ro ng , e st ab lish ed ja zz p erfo rm an ce p ro g ra m s. T ho se w ho d o m ay fin d t h at t h ey te ach st ud en ts w ho a lr e ad y have a si gnifi c an t b ase lin e k n o w le d ge o f t h e m usi c’s th eo ry an d h ist ory , th o ug h it is by no m ean s guara n te ed . In sp it e o f c o nsi dera b le g ro w th in t h e p re se nce a n d vi ta lit y of m an y world m usi c t r a d it io ns in N orth A m eric a, E uro p e, A ust ra lia , a n d e lse where in t h e p ast tw en ty ye ars, t h e le ve l o f f a m ilia rit y m an y st ud en ts have w it h ja zz st ill d ist in g uish es th e e th no m usi co lo gy of it f r o m vi rtu ally an y oth er e th no m usi co lo gic al sp ecia liz a tio n, w heth er it b e J a va nese g am ela n , M an d e ja li m usi c, o r e ve n Ir ish t r a d it io nal m usi c, w it h / whic h st ud en ts m ay have a h ig h le ve l o f f a m ilia rit y an d sk il l a s p erfo rm ers, b ut w hic h is no t in st it u tio nally su pporte d a s a can o nic al g en re in m usi c e d ucatio n.

I t h in k t h is cre ate s both o p portu nit ie s an d c h alle n g es, p artic u la rly in t h in kin g a b out h o w o ur r e se arc h in te rse cts wit h t e ach in g . T he m ost c rit ic al c h alle n g e is pro b ab ly th e o ne P ro uty has exp lo re d a t le n g th in K no w in g J azz : n am ely th at w hile e th no m usi co lo gis ts have d eve lo p ed a c rit ic al p ersp ective o n t h e ja zz c an o n a n d h ave c erta in ly sh ow n t h e p ersp ective ’s va lu e f o r t h e st ud y of ja zz h ist ory a n d e th no gra p hy, o ur st ud en ts—a nd o ft e n o ur c o ll e ag ues—a re a lr e ad y in ve sted in t h e c an o n. S in ce, a s eth no m usi co lo gist s, w e are m ost lik e ly to b e e xp ecte d t o t e ach so me va ria tio n o n t h e o ne- se mest er ja zz h ist ory co urse , w e h ave t o fi n d w ays to m ain ta in e n g ag ed , c rit ic al, n o n-c an o nic al sc ho la rly vision w hil e a t t h e sa me tim e r e co gniz in g t h e lo ng t r a d it io n o f c an o n-b uild in g w it h in ja zz.

T he o p portu nit ie s fo r u s as ja zz e th n o m usi co lo gist s th at c o m e fr o m t h e si gnifi c an t p re se nce o f ja zz m ajo rs, m in o rs, a n d afic io nad os at o ur in st it u tio ns are n o ta b le a n d , o n b ala n ce, o utw eig h t h e c h alle n g es. In n o p artic u la r o rd er, t h ey in clu d e: t h e o p en ness to w orld m usi c t yp ic al o f t h e ja zz c o m m unit y; t h e o p portu nit y to u se lo cal ja zz sc en es as fie ld si te s fo r p artic u la r kin d s of r e se arc h ; a n d t h e c h an ce t o f u rth er d eve lo p t h e m ult id isc ip lin arit y th at h as blu rre d lin es betw een e th no m usi co lo gy an d o th er a p pro ach es to ja zz st ud ie s in t h e p ast t w en ty ye ars. T he first o f t h ese is perh ap s no t a lw ays ob vi ous to t h e st ud en ts t h em se lve s, b ut it is a p ow erfu l le sso n t h at h as th e p ote n tia l t o g ro w t h e p re se nce o f b oth e th no m usi co lo gy an d w orld m usi c o n co lle g e c am puse s ove r t h e c o urse o f t h e n ext t w en ty ye ars. M an y ja zz st ud en ts en te r t h eir st ud ie s alr e ad y m ore in te re st ed in w orld m usi c (o r, a t le ast , a sp ecifi c su bse t o f w orld m usi c) t h an t h eir c o unte rp arts in t h e W est ern c la ssi cal t r a d it io n. T hey are o ft e n in te re st ed in A fr o -C ub an m usi c b ecau se o f it s im porta n ce t o L atin ja zz, o r in B ra zilia n m usi c b ecau se o f p erc u ssi onist s lik e A ir to M ore ir a a n d N an á V asc oncelo s, o r in H in d ust an i m usi c b ecau se o f th e w ork o f a va nt g ard e a n d f u si on m usi cia n s, f r o m J o hn C olt r a n e to J o hn M cL au g hlin , a n d b ecau se o f t h e vi sibilit y of In d ia n m usi cia n s su ch a s Trilo k G urtu in t h e ja zz w orld si nce t h e 1 970s.

B eyo nd t h is, a t le ast o ne w ay to t e ll t h e c an o nic al h ist ory of ja zz is a s a h ist ory of A m eric an —i mporta n tly , b ut n o t e xc lu si ve ly Afr ic an A m eric an —m usi cia n s est ab lish in g r e la tio nsh ip s wit h m usi cia n s fr o m o th er t r a d it io ns an d d eve lo p in g n ew m usi c f r o m t h o se / co nnectio ns. T his is easi est t o se e in t h e m od ern ja zz e ra , w it h D iz zy Gille sp ie a n d C han o P ozo , o r R an d y W est on a n d t h e G nau o a m usi cia n s, f o r in st an ce. E ve n st ud en ts who a re n o t a lr e ad y in te re st ed in t h is asp ect o f ja zz t e n d t o b eco m e in te re st ed o ve r tim e a n d t h ro ug h e xp osu re , b ecau se it is so n early in esc ap ab le in t h e m ain st re am o f m od ern ja zz.

T he se co nd o f t h ese o p portu nit ie s th at c o m e f r o m t e ach in g a n d re se arc h in g ja zz a s an e th no m usi co lo gist in t h e c u rre n t c o nte xt m ore d ir e ctly in vo lve s eth no m usi co lo gic al r e se arc h , r a th er t h an t h e w orld m usi c p ro se lyt iz a tio n t h at h as been p art o f o ur p urvi ew a t le ast si nce t h e 1 970s. H ere I su ggest t h at e th no m usi co lo g ist s who w ork o n ja zz a n d t e ach in p erfo rm an ce-o rie n te d sc ho ols wit h a ctive ja zz p ro gra m s have t h e o p portu nit y to w ork w it h t h eir c o lle ag ues an d st ud en ts in p erfo rm an ce a s a la b o f so rts. C le arly t h is is th e c ase f o r e th no m usi co lo gic al st ud ie s of ja zz e d ucatio n. It is im porta n t t o lo ok b eyo nd o ne’s ow n sp ecifi c p ro g ra m in o rd er t o c o nte xtu aliz e a n d u nd erst an d t h e r e su lt s of t h is kin d o f fi e ld r e se arc h , o f c o urse , b ut m ost ja zz p ro g ra m s m ake g ood st artin g p oin ts fo r p ed ag ogic al r e se arc h . B eyo nd p ed ag ogy an d en cu lt u ra tio n st ud ie s, h o w eve r, I t h in k e th no m usi co lo gist s of ja zz c an d o m ore t o u se t h eir o w n c o m munit ie s as fie ld si te s. S ch o la rs in p la ces lik e C ham paig n-U rb an a, Illi n o is, o r D en to n, T e xa s, o r B lo om in g to n, In d ia n a, m ay fin d t h at t h ey m ust t r a ve l t o la rg er c it ie s, o ft e n o n t h e c o ast s, t o fi n d t h e p rim ary so urc e m ate ria ls n ecessa ry to d o c an o nic al h ist oric al r e se arc h , b ut f o r t h e k in d s of re se arc h m ore t yp ic al o f e th no m usi co lo gy th ese sc en es m ay be exc elle n t fi e ld si te s. In t h in kin g t h is I a m g uid ed in p art b y Davi d Ake ’s poin t, t h at r a th er t h an t h in kin g o f c o ll e g e ja zz p ro g ra m s as so me k in d o f le sse r, in au th en tic ve rsi on o f t h e ja zz w orld , “ th e lin e th at sc ho la rs, jo urn alist s, a n d e ve n m usi cia n s m ain ta in t o se para te ‘ja zz’ f r o m ‘ja zz e d ucatio n’ is blu rry , e ve n illu so ry” (2 010, 1 18).

M usi cia n s, t a ke le sso ns an d g o t o c la ss, b ut t h ey also li st en t o re co rd in g s to geth er, p la y gig s, a n d p ay to h ear lo cal a n d vi sitin g m usi cia n s. A s Ake sa ys, “ … th o se st ud yi ng ja zz a t B erk le e o r t h e U nive rsi ty of K en tu cky or t h e U nive rsi ty of O re g on, o r a n y of t h e d oze n s of o th er d eg re e-g ra n tin g p ro gra m s in t h e U nit e d S ta te s, a re n o t ju st w ait in g u ntil t h ey gra d uate t o b eco m e p art o f a ja zz sc en e. T hey are t h e ja zz sc en e, o r a t le ast a la rg e p ortio n o f it , a t a n y ra te ” (1 18). It is quit e p ossi ble t o d o r e se arc h in to t h e so cia l c o nst ru ctio n o f t h ese sp ecifi c k in d s of ja zz sc en es, a n d su ch re se arc h m ig ht b e c o m pare d in va lu ab le w ays wit h t h e m ate ria l w e have a lr e ad y on t h e m ore p ro fe ssi onal, h ig her- p ro file sc en e in N ew 5 / Yo rk f o und in , f o r e xa m ple , B erlin er’s, M onso n’s, a n d J a ckso n’s w ork . T he p oin t w ould n o t b e so m uch t o p ro ve t h at o ne o r a n o th er sc en e is “le g it im ate ,” in c o m pariso n w it h t h e N ew Y o rk sc en e, b ut to u nd erst an d w hat t h e o utlin es of v a rio us sc en es are —t heir p artic u la r m otiva to rs an d st re sse s, t h e k in d s of m usi c t h ey do o r d o n o t su pport, a n d t h e w ays th eir p artic ip an ts und erst an d t h em .

Fin ally , f o r c o gnit ive e th no m usi co lo gist s it sh ould b e p ossi ble , p erh ap s easi er in f a ct, t o d o t e ch no lo gic ally- en han ced r e se arc h in to t h e p ro cesse s of c re ativi ty fo und in ja zz, w ork in g w it h st ud en ts a n d f a cu lt y in a sc en e lik e t h o se c h ara cte rist ic o f u nive rsi ty c o m munit ie s, t h an in o th er ja zz sc en es. T he n ecessa ry re so urc es fo r su ch r e se arc h , in t h e f o rm o f b oth t e ch no lo gy an d sp ecia list s in in fo rm atic s, h um an -c o m pute r in te ra ctio n, c o gnit io n, n eu ro sc ie n ce, a n d so f o rth , a re u niq uely co ncen tr a te d in t h ese c o m m unit ie s.

C onclu sio n: J a zz a n d t h e R ed efi nit io n o f D is c ip lin ary B ound arie s The t h ir d o f t h e o p portu nit ie s pre se nte d b y th e c u rre n t c o nte xt f o r te ach in g a n d r e se arc h in ja zz e th no m usi co lo gy—t he e xp an si on o f in te rd isc ip lin arit y—p re se nts, I t h in k, a u se fu l c o nclu si on.

E th no m usi co lo gy has alw ays been in te rd isc ip lin ary—e no ug h t h at it c an r e aso nab ly be c alle d a n “ in te rd isc ip lin e” (se e S oli s 2012). A s early as th e m id -1 960s Ala n M erria m d efin ed it a s th e m arria g e o f an th ro p olo gy an d m usi co lo gy (1 964, 3 ). I t h in k t h e lit e ra tu re in ja zz sh ow s th is kin d o f in te rd isc ip lin arit y an d m ore . T he f a ct t h at it is o ft e n d iffi cu lt t o k n o w w heth er a ja zz sc ho la r is an e th no m usi co lo gist o r n o t, a n d h ard t o c la ssi fy partic u la r b ooks an d artic le s in t e rm s of t h e d isc ip lin ary divi de is a g ood t h in g , g en era lly sp eakin g . It m ean s th at w e a re r e ad in g a n d in te ra ctin g w it h o ne an o th er’s work la rg ely wit h o ut r e g ard f o r d isc ip lin ary fa u lt lin es, w hic h c erta in ly m ake s our fi n d in g s ric h er. It a lso m ean s th at w e a re a p pro ach in g t h e m usi c a n d m usi cia n s we st ud y wit h m eth o d olo gic ally op en m in d s, w hic h o ff ers th e p ro sp ect o f in no va tive o utc o m es. T here is a d an g er in a ll o f t h is m eth o d olo gic al p ro m isc uit y , t o b e su re . W e r u n t h e r isk a s sc ho la rs, if w e d o n o t h ave w ell- u nd erst ood , so phist ic ate d th eo re tic al r e fe re n ce p oin ts, a n d if w e su ccu m b t o a la ck o f m eth o d , o f si m ply bein g u nd isc ip lin ed , r a th er t h an in te rd isc ip lin ary .

T hat d an g er is bein g se en a cro ss th e h um an it ie s an d so cia l sc ie n ces to d ay, e vi den ced b y a r e tu rn t o d isc ip lin arit y in so me cir c le s. T hat st ate d , a n d a t r isk o f a c erta in o ve rsi m plifi c atio n, I 6 7 / belie ve t h e va lu e o f a t le ast t h e lim it e d in te rd isc ip lin arit y re p re se nte d b y, f o r in st an ce, t h e g ro w th o f “ h ist oric al e th no m usi co lo gy” a n d t h e “ n ew m usi co lo gy” se em s cle ar.

I n f a ct, t h e le ve l o f m utu al in te llig ib ilit y an d r e le va nce t h at ja zz sc ho la rsh ip f r o m e th no m usi co lo gy, m usi c h ist ory , a n d m usi c th eo ry—t o sa y no th in g o f si m ila r w ork in A fr ic an A m eric an st ud ie s, A m eric an c u lt u ra l st ud ie s, h ist ory , E ng li sh , a n d so o n—p oin ts to a n im porta n t id ea t h at m ake s up t h e c o nclu si on o f D ale O lse n’s artic le in t h e C olle g e M usi c S ocie ty N ew sle tte r f r o m 1 992, a n d o ne t h at re vi sits one o f C harle s Seeg er’s fa vo rit e t o p ic s. A s Olse n p ut it , “ T he t e rm e th no m usi co lo gy is in sp ir e d b y eth no lo gy, w hic h is th e co m para tive st ud y of c u lt u re s. B ut e th no m usi co lo gy is m ore t h an th e c o m para tive st ud y of m usi c c u lt u re s. It is a d isc ip lin e f o r w hic h it s nam e sh ould n o lo ng er a p ply . A f a r b ette r t e rm is M usi co lo gy (w it h a c ap it a l M )” (1 992). I d o n o t p ro p ose , a s he d oes, t h at e th no m usi co lo gy sim ply ta ke t h e n am e “ M usi co lo gy” a n d t h at w hat c o m monly goes by th e n am e “ m usi co lo gy” n o w t a ke t h e nam e “ m usi c h ist ory .” R ath er, f o llo w in g S eeg er, I su ggest t h at w e are a ll d oin g “ M usi co lo gy” (w it h a c ap it a l M ), a n d t h at w hat w e so metim es desc rib e a s disc ip lin ary divi sions—e th no , h ist oric al, e tc .—a re , in f a ct, su bdisc ip lin ary . I in si st o n r e se rvi ng t h e t e rm “ m usi co lo gy” t o d esc rib e a ll sc ho la rly re se arc h in m usi c, a n d t r y to c o nsc ie n tio usl y use su bdisc ip lin ary m ark e rs when d esc rib in g re se arc h a n d t e ach in g t h at f a lls und er t h ese su bcate g orie s, w heth er b y m eth o d , t h eo ry , o r in te lle ctu al lin eag e. In t h is se nse , th e f u tu re o f ja zz e th no m usi co lo gy m ay be m uch t h e sa me a s th e fu tu re o f ja zz h ist ory an d ja zz t h eo ry . If so , t h at is a g ood f u tu re , in d eed .

  N ote s There a re , o f c o urse , e xc ep tio ns to t h is ru le , a n d in cre asi ng ly so as eth no m usi co lo gy is m ore a n d m ore in te rn atio nal. L aw re n ce W it z le b en r e m in d s us in h is artic le “ W ho se E th no m usi co lo gy?

W est ern E th no m usi co lo gy an d t h e S tu d y of A si an M usi c” (1 997), t h at t h e d isc ip lin e h as alw ays in clu d ed a n um ber o f sc ho la rs fr o m o utsi de E uro p e a n d t h e U .S . w ho st ud y m usi cs th ey gre w u p w it h a n d in w hic h t h ey becam e p ro fic ie n t a s perfo rm ers befo re t h ey u nd erto ok sc ho la rly re se arc h . A . J . R acy, w ho se r e se arc h in A ra b ic m aq am -b ase d m usi c is in tim ate ly tie d t o h is work a s a w orld - re n o w ned p erfo rm er o f t h at t r a d it io n.

1 / That st ate d , m ore a n d m ore so phist ic ate d d isc ussi ons of w hat an d h o w A fr ic an m usi c in flu en ced a n d r e m ain ed p re se nt in d ia sp oric m usi c c o ntin ued —a nd c o ntin ues to d ay—t o b e va lu ab le in t h e d isc ip lin e o f e th no m usi co lo gy, n o t o nly in st ud ie s of ja zz, b ut o f B la ck m usi cs th ro ug ho ut t h e N ew W orld a s well.

T his was a p erio d w hen A nth ro p olo gy an d e th no m usi co lo gy were b oth st ru g glin g t o t h in k a b out h o w t o a d ap t r e se arc h m eth o d olo gie s an d t h eo rie s first d eve lo p ed w it h t h e id ea o f cu lt u ra l d ist an ce b etw een e th no gra p her a n d e th no gra p hic su bje cts a s a n o rm t o n ew si tu atio ns in w hic h e xtre m e c u lt u ra l d iff ere n ce a n d d ist an ce c o uld n o t b e t a ke n f o r g ra n te d n o r p osi te d a s a defin in g f e atu re o f t h e d isc ip lin e(s) . J o an ne P assa ro c ap tu re d t h is c o nflic t a p tly in t h e e ssa y “’Y o u C an ’t T a ke t h e S ub w ay to t h e F ie ld ’: ‘V illa g e’ E pist em olo gie s in t h e G lo b al V ill a g e” (1 997).

W hile J a ckso n’s book o nly ap peare d in 2 012, a n d t h us has no t had t h e sa me le n g th o f t im e t o im pact t h e fi e ld a s th e o th er t w o it e m s disc usse d h ere , t h e e arlie r a rtic le h as been w id ely cit e d , a n d in a se nse t h e b ook r e p re se nts an im porta n t st ep in r e la tio n t o t h e d eve lo p m en t o f e th no m usi co lo gic al st ud ie s of ja zz.

F or m ore o n t h e r e la tio nsh ip (a n d c rit ic al d iff ere n ces) b etw een e th no m usi co lo gy an d w orld m usi c, se e D ale O lse n’s artic le , “ W orld M usi c a n d E th no m usi co lo gy—U nd erst an d in g t h e D iff ere n ces, ” Bru no N ettl’s T he S tu d y o f E th no m usic o lo gy: T hir ty -O ne Is su es an d C oncep ts (2 005), e sp ecia lly pag es 6-8 , a n d in a n e arlie r h ist oric al m om en t, A la n M erria m ’s “E th no m usi co lo gy To d ay” (1 975, 5 0-5 1).

It is no t a lt o geth er c le ar w hat M erria m m ean t b y “m usi co lo gy” here ; n o t m usi c h ist ory , I t h in k. B ase d o n h is la rg er d isc ussi on I t h in k h e m ean t so meth in g c lo se r t o w hat w e w ould c all m usi c th eo ry to d ay: t h e a n alyt ic al st ud y of m usi cal f o rm a n d st ru ctu re .

F or a d isc ussi on o f t h e st ake s an d t h e h ist ory of d isc ip lin arit y in t h e a cad em y, se e A m an d a A nd erso n a n d J o se ph V ale n te ’s D is c ip lin arit y a t t h e F in d e S iè cle (2 001).   R efe re n ces A ke , D avi d. 2 002. J azz C ult u re s . B erk e le y: U nive rsi ty of C alif o rn ia P re ss.

–––––. 2 010. J azz M atte rs . B erk e le y: U nive rsi ty of C alif o rn ia P re ss. 2 3 4 5 6 7 / And erso n, A m an d a a n d J o se ph V ale n te , e d s. 2 001. D is c ip lin arit y a t th e F in d e S iè cle . P rin ceto n, N J: P rin ceto n U nive rsi ty P re ss. B ara ka , A m ir i [L eR oi J o nes] . 1 963. B lu es P eo p le : N eg ro M usic in W hit e A m eric a . N ew Y o rk : H arp er P ere n nia l. B erlin er, P au l. 1 994. T hin kin g in J azz: T he In fin it e A rt o f Im pro vis a tio n . C hic ag o: U nive rsi ty of C hic ag o P re ss. C ra y, E d. 1 961. “ A n A ccu lt u ra tive C ontin uum f o r N eg ro F olk S ong in t h e U nit e d S ta te s. ” E th no m usic o lo gy 5 (1 ), 1 0-1 5. F eld , S te ve n. 1 981. “ ‘F lo w L ik e a W ate rfa ll’ : t h e M eta p ho rs of K alu li M usi c T heo ry .” Y e arb ook f o r T ra d it io nal M usic v . 1 3, 2 2-4 7. F elle zs, K evi n. 2 011. B ir d s o f F ir e : J azz, R ock, F unk, a n d t h e C re atio n o f F usio n . D urh am , N C: D uke U nive rsi ty Pre ss. G ab bard , K rin . 1 995. J azz A m ong t h e D is c o urs e s . D urh am , N C: Duke U nive rsi ty Pre ss H air st on-O ’C onnell, M onic a. 2 007. “ G en d er, J a zz, a n d t h e P op ula r F ro nt.” In B ig E ars : L is te n in g f o r G en d er in J azz S tu d ie s , S herrie T u cke r a n d N ic h o le R ust in , e d s. D urh am , N C: D uke U nive rsi ty P re ss.

H eb le , A ja y. 2 000. L an d in g o n t h e W ro ng N ote : J azz, D is so nan ce, an d C rit ic al P ra c tic e . N ew Y o rk : R outle d ge. H eb le , A ja y an d D an ie l F isc hlin , e d s. 2 004. T he O th er S id e o f N ow here : J azz, Im pro vis a tio n, a n d C om munit ie s in D ia lo gue . M id dle to w n, C T: W esl eya n U nive rsi ty Pre ss.

H ersk ovi ts, M elvi lle . 1 990 [1 941]. T he M yth o f t h e N eg ro P ast . B ost on: B eaco n P re ss.

Ja ckso n, T ra vi s. 2 000. “ J a zz P erfo rm an ce a s Rit u al: T he B lu es A est hetic a n d t h e A fr ic an D ia sp ora .” In T he A fr ic an D ia sp ora : A M usic al P ers p ectiv e , e d . In g rid M onso n. N ew Y o rk : G arla n d P ub lish in g .

––––––. 2 012. B lo w in ’ t h e B lu es A w ay: P erfo rm an ce a n d M ean in g o n t h e N ew Y o rk J azz S cen e . B erk e le y: U nive rsi ty of C alif o rn ia P re ss.

K arto m i, M arg are t. 1 981. “ T he P ro ce ss an d R esu lt s of M usi cal C ult u re C onta ct: a D isc ussi on o f T e rm in o lo gy an d C oncep ts. ” Eth no m usic o lo gy 2 5(2 ), 2 27-4 9. / Kolin sk i, M ie czysl aw . 1 982. “ R eit e ra tio n Q uo tie n ts: A C ro ss- C ult u ra l C om pariso n.” E th no m usic o lo gy 2 6(1 ), 8 5-9 0. Lew is, G eo rg e. 2 008. A P ow er S tro ng er t h an It s e lf : T he A AC M a n d A m eric an E xp erim en ta l M usic . C hic ag o: U nive rsi ty of C hic ag o P re ss.

M cG hee, K ir st in . 2 009. S om e L ik e d it H ot: J azz W om en in F il m a n d Te le vis io n, 1 928-1 959 . M id dle to w n, C T: W esl eya n U nive rsi ty Pre ss. M ead ow s, E ddie S . 1 987/8 8. “ E th no m usi co lo gy an d J a zz R ese arc h : A S ele ctive V ie w poin t.” B ulle tin o f t h e C ouncil f o r R ese arc h in M usic E ducatio n 9 5, 6 1-7 0. M erria m , A la n . 1 955. “ T he U se o f M usi c in t h e S tu d y of a P ro b le m o f A ccu lt u ra tio n.” A m eric an A nth ro p olo gis t 5 7(1 ), 2 -3 4. –––––. 1 964. T he A nth ro p olo gy o f M usic . E va nst on, IL : N orth w est ern U nive rsi ty Pre ss.

–––––. 1 975. “ E th no m usi co lo gy To d ay.” C urre n t M usic o lo gy 2 0, 5 0- 66.

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M urra y, A lb ert. 1 976. S to m pin g t h e B lu es . N ew Y o rk : M cG ra w H ill. N ettl, B ru no . 1 974. “ T ho ug hts on Im pro vi sa tio n.” T he M usic al Q uarte rly 6 0(1 ), 1 -1 9. –––––. 2 005. T he S tu d y o f E th no m usic o lo gy: T hir ty -O ne Is su es a n d C oncep ts . U rb an a, IL : U nive rsi ty of Illin o is Pre ss. O lse n, D ale A . 1 992. “ E th no m usi co lo g y an d W orld M usi c— U nd erst an d in g t h e D iff ere n ce.” N ew sle tte r o f t h e C olle g e M usi c Socie ty .

P assa ro , J o an ne. 1 997. “ ’Y o u C an ’t T a ke t h e S ub w ay to t h e F ie ld ’:

‘V illa g e’ E pist em olo gie s in t h e G lo b al V ill a g e.” In A nth ro p olo gic al L o catio ns: B ound arie s a n d G ro und s o f a F ie ld S cie n ce A kh il G up ta a n d J a m es Ferg uso n, e d s. B erk e le y: U nive rsi ty of C alif o rn ia P re ss:

1 47-6 2. / Pond , S te ve n F . 2 005. H ead H unte rs : T he M akin g o f J azz’s F ir s t P la tin um A lb um . A nn A rb or: U nive rsi ty of M ic h ig an P re ss. P orte r, E ric . 2 002. W hat Is T his T hin g C alle d J azz: A fr ic an A m eric an M usic ia n s a s A rtis ts , C rit ic s, a n d A ctiv is ts . B erk e le y: U nive rsi ty of C alif o rn ia P re ss.

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S olis, G ab rie l a n d B ru no N ettl, e d s. 2 009. M usic al Im pro vis a tio n: A rt, E ducatio n, a n d S ocie ty . U rb an a, IL : U nive rsi ty of Illin o is Pre ss. S pellm an , A .B . 1 966. F our L iv e s in t h e B eb op B usin ess . N ew Y o rk : L im elit e E dit io ns.

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  / TH E C O LLE G E M USIC S O CIE TY 312 E ast P in e S tre et | Mi sso ula MT 5 9802 | U SA Ph: 4 06.7 21.9 616 E m ail: c m s @m u sic .o r g (m ailt o :c m s@ musi c.o rg )  | W eb :  w ww.m usi c.o rg (h ttp :/ /w ww.m usi c.o rg ) (h ttp :/ /w ww.m usi c.o rg ) C op yr ig ht ©  T he C olle g e Mu sic S ocie ty . A ll R ig hts Rese rve d. (h ttp :/ /w ww.jo om sh ap er. c o m ) TH E C M S F U ND The C MS F und (h ttp :/ /w ww.c m sfund .o rg ) su pports exe m pla ry an d in no va tive p ro je cts to b rin g t o t h e p ub lic t h e a c co m plish men ts of t h e m usi c p ro fe ssi on in h ig her e d ucatio n.   D O NAT E ! (H TTP S:/ /W WW.M USIC .O RG /IN DEX.P H P? O PTIO N=C O M _R SFO RM &FO RM ID =77& IT E M ID =2668) 