Jeï¬rey H. Jackson is assistant professor of history at Rhodes College in Memphis, Tennessee. This article is based on his forthcoming book Making Jazz French: Music and Modern Life in Interwar Paris to be published by Duke University Press. He is currently coediting and contributing to a collection of essays tentatively entitled Music and History: Bridging the Disciplines. The author wishes to thank Daniel Sherman, the anonymous readers for French Historical Studies, and the members of Vanderbilt Universityâs history department seminar for their comments on this article. He would also like to thank Alice Conklin, Charles Rearick, and Tyler Stovall for their reading of the work on which this article was based. This research was partly funded by a National Endowment for the Humanities Summer Stipend, a Bernadotte E. Schmitt Grant from the American Historical Association, and a grant from the Sinfonia Foundation. 1 Chris Goddard, Jazz Away from Home (London, 1979). Besides Goddardâs book, one of the most illuminating studies is by the well-known jazz historian William H. Kenney III and is entitled ââLe Hot: The Assimilation of American Jazz in France, 1917â1940,ââ American Studies 25 (1984): 5â 24. Kenney argues that French musicians of the 1930s
French Historical Studies – Duke University Press
Published: Jan 1, 2002
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