Music from the Margins: An Autoethnographic Study of the Development of a Jazz Composer’s Voice
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This is a multi-modal, authoethnographic study which examines the development of my voice as a composer. It consists of a folio of music scores, two CD recordings, and an exegesis. The principal question of how my musical identity has been shaped by my experiences as a jazz practitioner has been examined through composing music, personal writing and reflection, and an examination of relevant literature. The compositions reveal the main influences in my musical identity - jazz, western art music and Latin music, as well as their connection to the places which have inspired their creation. They range from an art song cycle to Afro-Cuban dance music, reflecting the hybrid nature of my practice. The exegesis makes use of contemporary feminist musicology and cultural studies to examine the nature of my experiences as an Anglo-Canadian/Australian woman pianist trying to find her place in strongly male-identified Latin and jazz music communities. It addresses the historical eclipsing of the role of women in jazz, and examines the negotiation of gender dynamics in the job market and on the band stand in the various communities where I have lived and worked. Both the music and the narrative seek to add a unique voice to the ever-evolving and diversifying story of jazz in the 21st-century.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Item Access Status
Contemporary feminist musicology
Women in jazz