Journal of Jazz Studies (JJS)
The Institute of Jazz Studies (IJS), the world’s foremost jazz archive and research facility, has launched the Journal of Jazz Studies (JJS), a scholarly publication available in open access format and free online at http://jjs.libraries.rutgers.edu.
JJS is also pleased to present its new editorial board, listed below.
JJS is a continuation of the IJS print journal, Annual Review of Jazz Studies (ARJS), now defunct.
Return-Entry Page, Return-Services Page
The editors of JJS are Edward Berger, Henry Martin, and
Dan Morgenstern; the managing editor is Evan Spring.
JJS is hosted online by the Rutgers University Libraries, using Open Journal Systems software. The Institute of Jazz Studies is a special collection of the John Cotton Dana Library on the Rutgers-Newark campus, and its wide array of collections and public programs serve the Rutgers and Newark communities, students at many other institutions, and scholars in jazz and related fields worldwide.
JJS is dedicated to the entire range of jazz studies—from technical analyses to oral history to cultural interpretation—and welcomes submissions from performers and unaffiliated scholars as well as academic scholars. Submission guidelines are available at the website. In the journal’s rigorous “double blind” peer-review procedure, all articles are relayed anonymously to at least two qualified outside reviewers, whose commentary is relayed anonymously back to authors.
Journal of Jazz Studies: Debut Online Issue - CONTENTS
Allen Forte: “The Development of Diminutions in American Jazz” (a previously unpublished 1958 lecture)
Benjamin Givan: “Forte’s Lecture on Jazz: An Introduction”
Edward Green: “’Harlem Air Shaft’: A True Programmatic Composition?”
Jeffrey Lovell: “Out of the Ordinary: Andrew Hill’s ‘Verona Rag’”
Mark Haywood: “Monk Trio: A Sequence of Sonnets” (poetry)
Edward Berger: “Jazz Portraits: 2000–2010” (photography)
Randy Sandke: “Unforgivable Whiteness” (a review of Hotter Than That: The Trumpet, Jazz, and American Culture, by Krin Gabbard)
Henry Martin: “More Than Just Guide Tones: Steve Larson’s Analyzing Jazz—A Schenkerian Approach” (a review of Analyzing Jazz: A Schenkerian Approach, by Steve Larson)
James McGowan and Robin Desmeules: “Jazz Research Bibliography: 2005–2006” (a list of scholarly jazz articles published in non-jazz journals)
For further information or any questions, please contact
JJS managing editor Evan Spring at evanspring@gmail.com
or (413) 238-8098.
Annual Review of Jazz Studies, which began in 1981, was itself a continuation of the Journal of Jazz Studies, which ran from 1973 to 1979. The name changes were dictated by frequency of publication: ARJS was published annually, while JJS was and will be published twice a year.
The new online Journal of Jazz Studies will continue and expand upon the tradition of the original JJS/ARJS as the longest running English-language scholarly jazz journal. Contributors to JJS/ARJS over the years include Douglas Henry Daniels, Krin Gabbard, Max Harrison, John Edward Hasse, Irving Louis Horowitz, Lawrence Kart, William Howland Kenney, Barry Kernfeld, Frank Kofsky, Neil Leonard, Dan Morgenstern, Lewis Porter, Brian Priestley, Ronald Radano, Robert Reisner, Loren Schoenberg, Richard Sudhalter, Ron Welburn, and Martin Williams, along with musicians such as David Liebman, Randy Sandke, and Joe Wilder.
Despite its successful run as a print journal, JJS is far more likely to be discovered, read, and cited in the open-access format, without any sacrifice in quality control. Open access will also speed the publication of time-sensitive reviews.
The editors and editorial board also stand behind the principle that unpaid scholarly work belongs in the public realm. Publishers of academic print journals generally receive free product and free editing—both indirectly subsidized by taxpayers—and then charge libraries whatever the market will bear. The open access movement has been steadily gaining momentum, and 10% to 15% of peer-reviewed journals are now open-access.
Open access also offers technological advantages over print publication. Articles can incorporate online links, reader responses, and author updates. Online publication will eventually facilitate multimedia—clicking music examples to hear music clips, for example. In the short term, JJS articles will be available only as downloadable PDF files that maintain the professional layout of a print journal. Eventually JJS will also post HTML versions that accommodate multimedia.
Institute of Jazz Studies
Rutgers, The State University of New Jersey
John Cotton Dana Library
185 University Ave.
Newark NJ USA 07102
Tel: (973) 353-5595
Fax: (973) 353-5944
Hours: 10:00 AM to 4:30 PM Eastern Time
15:00 to 21:30 UTC, Monday - Friday
Editorial Board
JJS is particularly proud to introduce its new editorial board, formed over the last year. The board has twelve members, introduced here in alphabetical order:
1. Paul F. Berliner, ethnomusicologist and professor of music at Duke University. His books include Thinking in Jazz: The Infinite Art of Improvisation and The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe.
2. Barbara Bleij, senior teacher (jazz and classical) at the Amsterdam Conservatory, and former editor of the Dutch Journal of Music Theory (1996–2007). Her scholarly work includes studies of Lennie Tristano, Clare Fischer, and Wayne Shorter.
3. James Dapogny, Professor Emeritus of Music Theory at the University of Michigan, and a pianist and bandleader with his much-recorded Chicago Jazz Band. His works include Jelly Roll Morton: The Collected Piano Music.
4. Benny Golson, tenor saxophonist and composer, with over 30 albums and several jazz standards (“Whisper Not,” “Stablemates,” “I Remember Clifford”) to his credit. He holds honorary doctorates from Berklee School of Music (Boston) and William Paterson (Wayne, NJ).
5. Andrew Homzy, musicologist, composer, arranger, bandleader, and professor of music at Concordia University in Montreal.
6. Ethan Iverson, pianist and composer best known for his work in the trio The Bad Plus. He has worked with Billy Hart, Lee Konitz, Paul Motian, and Charlie Haden, and his writings and interviews can be found at his blog, Do the Math.
7. Paul Jeffrey, tenor saxophonist, arranger, and educator. He has worked with Thelonious Monk, Charles Mingus, Dizzy Gillespie, Clark Terry, and Lionel Hampton, among others, and was director of jazz studies at Duke University from 1983 to 2003.
8. Lawrence Kart, music critic, former editor of the Chicago Tribune book review, and former associate editor of Down Beat. His collection of writings, Jazz in Search of Itself, was recently published by Yale University Press.
9. Bill Kirchner, composer, arranger, saxophonist, jazz historian, and educator. He is editor of The Oxford Companion to Jazz and The Miles Davis Reader.
10. Sonny Rollins, tenor saxophonist and composer. In 2010 he was elected to the American Academy of Arts and Sciences.
11. A. B. Spellman, author of Four Lives in the Bebop Business, accomplished poet, and longtime arts administrator for the NEA (the NEA’s Jazz Masters award for jazz advocacy is named after him).
12. Steven Strunk, professor of composition and music theory at Catholic University in Washington, DC, and author of several scholarly articles on jazz theory.
