Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players

Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players Benjamin Robert Phipps A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy in Music. School of Arts and Media Faculty of Arts and Social Sciences December 2017 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Phipps First name: Benjamin Other name/s: Robert Abbreviation for degree as given in the University calendar: Ph.D. School: School of Arts and Media Faculty: Arts and Social Sciences Title: Cultural cosmopolitanism and hybridity in the practices of contemporary jazz double bass players I Abstract 350 words maximum: (PLEASE TYPE) Abstract This thesis examines the musical and social practices of contemporary double bass players who perform jazz and world music. It contributes to the limited literature on the performance practices of contemporary double bass players by examining the place of the double bass player musically in ensembles, and socially within the jazz scene. It draws I attention to how understandings of the role of the bass, and cultural hybridity impact on the selection of performance practices such as improvisation. In doing so it contributes an important perspective on how hybrid musical practices and their relationship to musical hierarchy mediate musical and social identities. In conducting this research, fieldwork was undertaken using ethnographic methods and musical analysis in Sydney, Australia, between 2013 and 2016. The argument of the thesis takes a case study approach and examines the development of new performance practices, the maintenance of older ones and incorporation of world music in the work of bass players. The case studies include: a sample group of bass player accompanists, and ensemble leaders Lloyd Swanton, leader of The Necks and The catholics; and Jessica Dunn, leader of Sirens Big Band. Through these case studies I will demonstrate some of the ways in which double bass players have developed and implemented idiosyncratic and innovative approaches to improvisation and the performance practices used on the instrument while maintaining reference to the role of the bass developed in jazz. In doing so the thesis will explore change and continuity in the musical roles traditionally assigned to double bass players in jazz ensembles and the ways in which approaches to improvisation are developed. The thesis puts forward the argument that double bass players predominantly take a cosmopolitan approach to music-making that reflects their experience of moving between and borrowing from different styles in performances. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in DissertationAbstracts international (this is applicable to doctoral theses only). The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and reauire the aooroval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: II % # # ! ! # ! # ! # ! ! # # " ! ! # # ! ! ! !"# ! #!!" " # " !& $$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$ iii Abstract This thesis examines the musical and social practices of contemporary double bass players who perform jazz and world music. It contributes to the limited literature on the performance practices of contemporary double bass players by examining the place of the double bass player musically in ensembles, and socially within the jazz scene. It draws attention to how understandings of the role of the bass, and cultural hybridity impact on the selection of performance practices such as improvisation. In doing so it contributes an important perspective on how hybrid musical practices and their relationship to musical hierarchy mediate musical and social identities. In conducting this research, fieldwork was undertaken using ethnographic methods and musical analysis in Sydney, Australia, between 2013 and 2016. The argument of the thesis takes a case study approach and examines the development of new performance practices, the maintenance of older ones and incorporation of world music in the work of bass players. The case studies include: a sample group of bass player accompanists, and ensemble leaders Lloyd Swanton, leader of The Necks and The catholics; and Jessica Dunn, leader of Sirens Big Band. Through these case studies I will demonstrate some of the ways in which double bass players have developed and implemented idiosyncratic and innovative approaches to improvisation and the performance practices used on the instrument while maintaining reference to the role of the bass developed in jazz. In doing so the thesis will explore change and continuity in the musical roles traditionally assigned to double bass players in jazz ensembles and the ways in which approaches to improvisation are developed. The thesis puts forward the argument that double bass players predominantly take a cosmopolitan approach to music-making that reflects their experience of moving between and borrowing from different styles in performances. iv Acknowledgements I would like to especially thank my supervisor Dr. John Napier for his unwavering dedication, support and expert guidance. His knowledge, analysis and advice has had a great impact on the quality of this work. I would also like to thank my co- supervisor Associate Professor Manolete Mora for his feedback, guidance and support. I am also grateful to Dr. Michael Hooper and Professor Dorottya Fabian for their feedback during postgraduate reviews and comments on sections of this thesis. Thank you to the Graduate Research School for the financial support provided me during my research at UNSW through an Australian Government Research Training Program Stipend Scholarship (previously Australian Postgraduate Award (APA)) which funded this research and a Postgraduate Research Support Scheme grant which enabled me to present at several conferences overseas. A special mention is needed for my research participants without whom this project would not be possible. In particular, I would like to thank Lloyd Swanton and Jessica Dunn for their tremendous generosity in sharing so much of their time with me and revealing much of the inner workings of their music-making. I would also like to thank Brendan Clarke, Philip Rex, Thomas Botting, Kate Pass, Waldo Garrido and Abel Cross who all generously gave their time and perspective over the course of this research. I would like to extend a heartfelt thankyou to my parents, Jenny and Rob and my sister Liz whose unwavering support, inspiration and love has been so crucial to the completion of this thesis. Lastly this thesis is dedicated in loving memory, to my father Robert John Phipps, a passionate educator who would have been overjoyed at this thesis’ completion. v TABLE OF CONTENTS Abstract iv Acknowledgements v List of Musical Examples ix List of Audio Examples xi Introduction 1 Purpose and Rationale 1 Thesis Structure 9 Chapter One: Cosmopolitanism, Hybridity and Musical Practice 13 1.1 Examining Cultural Cosmopolitanism and Musical Practice 13 1.2 Establishing the relationship of cosmopolitanism and cultural hybridity in musical practice 23 Theoretical and practical perspectives on hybrid musical creativity and articulating socio-cultural

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