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Foreword 3 The texts are presented chronologically. After I had experimented with different media-based or thematic structures, this arrangement proved to be the most useful. A media-based organization might have made it easier for specialists to find their areas of interest assembled in one section of the book. Similarly, a thematic structure might have divided the material to give it a particular resonance at this historical moment. Both, however, presented difficulties. First of all, Snow's practice is distinguished by the fact that he has been simultaneously involved in various disciplines. Many of the texts reflect this, making it sometimes impossible to classify them. To think of him solely as a filmmaker or a visual artist or even a musician is to ignore the essence of his multifarious creativity. The difficulty of a thematic approach is that it tends to date quickly; to search for one theme most resistant to fashion would have been arbitrary in any case. The current structure takes us through time, serving both as an individual history of this artist and a more far-reaching representation of his vast body of work in the context of Canadian art and culture. It also exposes us to Snow's experience with various media so we can appreciate how one thing leads to another for him, or that, pardoxically , continuity exists in diversity. Although all the previously published material has been transcribed as faithfully as possible, corrections have been made to typographical and spelling errors when these were noticed; otherwise, the material is reproduced as it originally appeared. Each piece is introduced by Snow or me, with the aim of describing the original context and form. As the ultimate goal of this book is to make the material readily available for further research and analysis as well as enjoyment, it is comprehensive without being totally exhaustive. Some isolated but possibly better known statements by Snow about his work have been omitted, and though it was essential to include some of the interviews with him, not all are here, for a variety of reasons. And some exclusion is probably just as well. Knowing Michael Snow and having gone through a similar process before, in attempting to list all the Walking Woman Works, I would have been surprised if he had not discovered other important writings after this selection had been compiled; in fact he did so, even as I was writing this introduction! But the impracticability of includingeverything is one of the many challenges that a project like this entails. And because Snow is still impelled to write, the appealing possibility of future collections remains. Louise Dompierre Associate Director/Chief Curator The Power Plant, Toronto May 1993 This page intentionally left blank The Real "New Jazz" 1950 In 1947 I became fascinated by early jazz - NewOrleans, Dixieland, blues - and started to play such music publicly. This period of my artistic career is well documented and discussed by various writers in the music/sound volume of the series to which this book belongs. Simultaneous with what has been called the New Orleans Revival, which I was part of, another musical revolution was taking place, that of the bebop or modern jazz of Charlie Parker, Miles Davis, Thelonius Monk and many others. A deeply felt aesthetic war developed between these two movements. I was on the side of the "old" jazz (later I wasn't) and wrote the following article to prove that there was another "new" jazz which continued the great tradition rather than threatened it, as I thought Parker's music, for example, did. I had hoped for publication, but it never happened . Well, it took forty years, but... here it is! I wrote it while I was going to high school (Upper Canada College). This is definitely a text for a specialist reader. To attempt to further identify all the musicians referred to would call for another book. Today I'm sadly sure that many of the names mentioned will be unknown to most jazz fans. There was great talent there, as is evident on the recordings made by those mentioned in the text from 1948 through the Fifties. The need to take sides has vanished, but some of the music is still with us and some of both my knowledge and passion are still evident in this revival. M.S. The last few years have seen a Renaissance in Jazz, and a most amazing one at that. There has been a burst of renewed interest in...

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Additional Information

ISBN
9780889206045
Related ISBN
9780889202436
MARC Record
OCLC
180704522
Pages
293
Launched on MUSE
2012-01-01
Language
English
Open Access
No
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