How Mass Reproduction and Mass Communication Have Impacted Specific Formal and Thematic Elements of Jazz (Research Paper Sample)

Firstname Lastname Instructor’s Name Course Number  DATE \@ "d MMMM yyyy" 14 April 2024 How Mass Reproduction and Mass Communication Have Impacted Specific Formal and Thematic Elements of Jazz Introduction Being a part of a movement involves more than just replication and widespread interaction; it involves contributions from many angles, presenting both the potential for discoveries and the risks associated with significant obstacles. It is already evident from Walter Benjamin's article “The Work of Art in the Modern Mechanical Times” that the method has unquestionably altered the essence of art, making it simple to de-materialize the quality of simply the “aura” that is employed when a specific work of art stays unique for the given time and place in general. This astounding metamorphosis was an unanticipated surprise, resulting in jazz's remarkable and unintentional rise as an art form. However, for this to happen, the music has primarily been presented live at jazz clubs, where audience members can interact with the musicians. In this case, the ensemble consisted of people near the artists, and the “aura” of a high level of performance demonstration appeared to affect those who attended the presentation. However, unlike a field audience, which was virtually connected to numerous artists and from which the songs were brought forth, this counterpart was mass-produced, and a big crowd that was now geographically isolated was introduced. Given the fact that both Walter Benjamin's analysis of the change of art in the age of mechanical reproduction and contemporary findings on social media's impact on jazz has been demonstrated with the community networking possibilities and global exposure of social media, this paper is based on the theory that, if such media are used appropriately, it can widen the spectrum of audiences and communication of jazz musicians. However, at the same time, it can transform ownership and identity. Background Jazz music has lost some of its qualities due to compositional and performance changes to match the new instrument and tone of the distant audience. For example, the recording's 78 rpm speed has cut the length of a creative exploration over the simple harmonies of standard chord progressions usually associated with classic jazz. Solfeggios were shortened, and the overall scoring sound became more apparent and compact, making it easier for the public to understand (Benjamin 7). Furthermore, technology constraints and presentation standards hampered live jazz's inventiveness and improvisational nature. As a result, the multi-cultural milieu fostered the wisdom of sharing resources and ideas, and jazz grew further, with performers adding other genres of music onto the field (Benjamin 14). The interactive nature of social media in the jazz circle has a wide-ranging impact, encompassing opportunities and difficulties with the most significant consequences. On the one hand, social media drove a more equitable method of disseminating and promoting jazz artworks. It provided bands with much greater exposure to a global audience. The interview with the Jazz Video Guy is a practical demonstration highlighting how musical personalities like Dave Striker and Janice leverage social media to publicize their works, connect with their audiences, and create buzz for upcoming events. This is consistent with MeTHoD's assertion that social media is critical to advancing jazz artists' careers and is enabled by self-branding, networking, and exploring new sounds in the creative community (MeTHoD, n.p.). By leveraging user-generated material and reaching out directly to fans, musicians can transcend geographical barriers and amass a mere following internationally. On the other hand, freely accessible media and its widespread reach come at a cost, as social media's popularity causes people to mistrust the authenticity of art. Ross, in a more piquant way, uses the phrase “the music industry is the business-oriented approach,” arguing for this delicate trade-off between promotion demands and artistic vision preservation (“Op-Ed”). As Ross points out, a similar difficulty exists in Esperanza Spalding's “Exposure,” where continual awareness of the marketing arena can force the creative process to swerve. Furthermore, Newey's research of Maria Schneider Orchestra's 'Data Lords' record implies the humiliating operations of digital platforms, demonstrating the necessity for fair compensation and respect for musicians' positions in digital forwardness. The statement that supports Ross's point of view on creativity and the specified bad aspects of digital media is also an acceptable observation for artists who must deal with the multifaceted aspects of digital media while attempting to remain autonomous. The inclusion of Philipp's historical viewpoint on the social influence of jazz music in the discussion is not only relevant but also makes a substantial addition to the exchange of views about the effect of social media on the genre. Philipp focuses on instances of exploitation and poor payment for black musicians who give their best performances only to receive low or no rewards from primarily white-owned companies as a compelling illustration of the roads that the white industry has traveled for decades in pursuit of justice and fair treatment by the jazz world. The democratic face of social media, however, is undermined by the containment of structural biases and power imbalances. These issues can be overcome by continuously educating consumers on traversing these muddy seas. Similarly, Philipp's contribution adds value to the writing in the magazine concerning the American Pride Magazine article, which is about technology's impact on jazz music and how it can collaborate globally and enhance learning avenues and new performance outlets. Instead of giving up, focus on the positive qualities of the jazz genre and lead the discussion that will highlight these historical hurdles and ongoing issues within the jazz identity. The video depicts the complex reality of low-income people in the digital age through the interplay of dichotomous dynamics. In this approach, the actual depth of presenting the progress of digitally empowered humans is wholly captured, with the social and economic limitations that remain only garnering proper notice. Literature Review The literature that will be used in this research essay concerning the role of social media in jazz is pretty diverse, foregrounding both opportunities and limitations for jazz musicians on the digital platform. Ross and Newey have underlined the difficulties that arise from the peculiar balancing of artistic integrity with industry promotion; Ross considered the hit on the musicians' creativity, while Newey explicitly analyzed the exploitation of musicians by digital platforms. These understandings emphasized the multifaceted nature of the relationship between artists and social media, which often brought about a value exchange for artistic autonomy. What is more, MeTHoD's blog post gave the practical tips jazz musicians utilize to attract a desired career by relying on actions such as engaging, promotion, and networking, which supports the work of Tanaskovic on combining social media into cooperative environments that show the benefit of shared knowledge and connectivity among scattered team members. While both describe social media's role in bringing people together and networking, they provide these insights in different contexts. Philipp's historical research mainly focused on the social nature of jazz, especially the prospect of black music artists' employment in the industry. The American Pride magazine article on the digital transformation of jazz, which reviewed the opportunities brought by technology but did not highlight the negative side, complemented the article about the digital transformation of jazz. Incorporating these different perspectives emphasizes the multidimensional character of social media in jazz, encompassing historical injustices, existing challenges, and technological innovations that shape jazz's evolution. In addition, the 2014 interview by Jazz Video Guy (3:15) illustrates how jazz musicians, including Dave Striker and Janice, frequently utilize social networks to promote their music. The assertion that user engagement directly on social media platforms is a critical determinant in the global dissemination of products is emphasized. Furthermore, the 2020 release of 'Smile' by Bill Warfield (1:01) encapsulates overarching themes of positivity and resilience, thereby implying potential parallels with the affective effects that social media may have on jazz musicians. Its message, which encourages jazz musicians to confront challenges with a positive attitude, highlights the psychological impact that social media platforms may have on the jazz community. This contributes to the ongoing dialogue surrounding how social media shapes jazz musicians' experiences. Generally, one can see an active interaction among social media, jazz art, and the music business. Though social media provides unique tools for exposure and networking, appropriating, commercializing, and faking artistic creations is a common concern. In the future, it is of utmost importance to perceive the complexity of the dynamics mentioned above, which will help avoid the confusion that the digital era in jazz brings. Annotated Bibliography Jazz Video Guy. “How some Jazz artists are using Social Media to promote their music.”, 2014HYPERLINK "https://www.youtube.com/watch?v=zhAb_zruewg&ab_channel=JazzVideoGuy" \h
 HYPERLINK "https://www.youtube.com/watch?v=zhAb_zruewg&ab_channel=JazzVideoGuy" \h
https://www.youtube.com/watch?v=zhAb_zruewg&ab_channel=JazzVideoGuy This interview shows that jazz artists like Dave Striker and Janice frequently advertise their music through social networks. The claim underlined is that the users' enga...