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DYNAMIC CANONS:
HOW THE PULITZER PRIZE, DOCUMENTARY FILM, AND THE U.S.
DEPARTMENT OF STATE ARE CHANGING THE WAY WE THINK ABOUT JAZZ
by
Matthew Alan Thomas
________________________________________________________________________
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(HISTORICAL MUSICOLOGY)
August 2011
Copyright 2011 Matthew Alan Thomas
Object Description
| Title | Dynamic canons: how the Pulitzer prize, documentary film, and the US Department of State are changing the way we think about jazz |
| Author | Thomas, Matthew Alan |
| Author email | mathomas@usc.edu;musicologymatt@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Music (Historical Musicology) |
| School | Thornton School of Music |
| Date defended/completed | 2011-04-15 |
| Date submitted | 2011-06-01 |
| Date approved | 2011-06-01 |
| Restricted until | 2011-06-01 |
| Date published | 2011-06-01 |
| Advisor (committee chair) | Yang, Mina |
| Advisor (committee member) |
Simms, Bryan Cull, Nick |
| Abstract | Many factors, including government sponsorship, institutional patronage, and influential documentary films have contributed to the creation of an official jazz canon. However, jazz performers create living, dynamic canons using techniques of intertextual reference. This dissertation presents several case studies on the representation of a jazz canon by individual artists, documentary filmmakers, and cultural institutions. Chapter one discusses how jazz canons are invoked and criticized in the Pulitzer Prize-winning works of Wynton Marsalis and Ornette Coleman. Chapter two presents contrasting views of the relationship between tradition and living culture as portrayed in two influential documentary films: Ken Burns’s Jazz and Spike Lee’s When the Levees Broke. Chapter three examines American jazz diplomacy in the post-Cold War era focusing on the United States State Department’s partnership with Jazz at Lincoln Center and the Thelonious Monk Institute of Jazz. In conclusion, I contend that jazz performers create dynamic canons that supplement, and sometimes subvert official canons. |
| Keyword | jazz; canon; pulitzer; wynton marsalis; ornette coleman; spike lee; ken burns; terence blanchard; thelonious monk institute; rhythm road; jazz at lincoln center; state department |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Contributing entity | University of Southern California |
| Rights | Thomas, Matthew Alan |
| Access conditions | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@usc.edu |
| Archival file | uscthesesreloadpub_Volume71/etd-ThomasMatt-12-0.pdf |
Description
| Title | Page 1 |
| Contributing entity | University of Southern California |
| Full text | DYNAMIC CANONS: HOW THE PULITZER PRIZE, DOCUMENTARY FILM, AND THE U.S. DEPARTMENT OF STATE ARE CHANGING THE WAY WE THINK ABOUT JAZZ by Matthew Alan Thomas ________________________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (HISTORICAL MUSICOLOGY) August 2011 Copyright 2011 Matthew Alan Thomas |
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