Alan P. Merriam

A Short Bibliography of Jazz

Ever since jazz came to the forefront of Americas consciousness in the second decade of the twentieth century, it has been the subject of widespread spoken and written criticism. To the present time, however, America lacks any published bibliography dealing generally with this specifically American music; even the Europeans, traditionally far ahead of America in the recognition of jazz, have attempted nothing of this kind. A critical look (at the literature of jazz reveals much that is shoddy, poorly written and poorly conceived, and yet much that brings an understanding of the cultural milieu in which jazz has functioned for so many years. The cycles of change in public opinion over the years are alone well worth a detailed interest, but it is the prevailing, vigorous atmosphere, the emergence of defined lines of development, the changes in attitude of musicians and writers alike that make jazz bibliography fascinating. The following short bibliography of jazz has been abstracted from an unpublished manuscript, A Bibliography of Jazz, which contains at present well over 3,000 entries compiled by the author with the assistance of Robert J. Benford. It is a selective bibliography not in the sense that only outstanding works are listed, but rather in that it represents the widest possible range of materials. The literature of jazz is as varied and exciting as the music itself, for not only has a group of competent critics grown up around the idiom but it has been traditionally fair game for any writer with paper and an outlet for his self-expression. The range of content is enormous. Basic, of course, are those works dealing with analysis and appreciation of the music itself of which no. 74 is typical, as well as with historical subjects (10), musical styles (25), and the personalities of jazz (6). But outside of these, the literature includes a vast array of subjects, some tangential and some of direct concern. Reproduction of recordings (41), bibliography (109), discography (44), listings of collectors (18), books of cartoons (43), the problem of women in jazz (38), and personal controversies among jazz musicians (42), as well as many other subjects, all find a place. It is in this sense, then, that the present bibliography has been abstracted, not necessarily to indicate the best writings about jazz, although the better items are listed as consistently as possible, but to give to the user a basic introduction to the field and some idea of the extraordinary range of subject material which has grown up around this vital American music.

The Anthropology of Music

reasons, conflicting findings tend to undermine the confidence of the music educator in research as a means of solving his daily problems. To a certain extent, discrepancies in such research findings are inevitable because the problems studied are often extremely complex and human beings do not respond predictably or uniformly as do the more objective elements and forces with which the chemist and physicist work. Some teachers fail to realize the potentialities of research in music education, while others apparently refuse to recognize its limitations. As a result, research in music education occupies a role that must be described as unclear if not, in fact, con-