Uploaded August 2019 | Updated September 2026, 14 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Keeping Jazz Alive through Dance Music: Perspectives from Electro Swing
Chris Inglis - The University of South Wales
Email: chris.inglis93@hotmail.com
/// ABSTRACT
The past decade has seen a rise in the production and consumption of the ‘electro swing’ genre – in which influences from the swing era (and related styles), are combined with those from the age of electronic dance music. The fusion of these styles has proved popular with audiences, and various artists – such as Parov Stelar, Caravan Palace, and Caro Emerald – have experienced considerable success.
But where does this style sit on the spectrum from jazz to popular music? Some argue that the genre exhibits the most legitimate example of present day jazz – the use of electronic dance music representing an evolution of the sound; whilst others suggest that this is purely contemporary dance music – the adoption of swing simply a novelty. Some may point out that jazz has always functioned as dance music, and that the inclusion of modern day dance music stays true to how early jazz was originally experienced; while others suggest that there should be no distinction between these two styles at all.
This paper will present and compare views collected from interviews with various artists involved in the electro swing genre, in order to reach a closer understanding with regard to these issues. Electro swing is an area of research which, despite its growing popularity, has largely been ignored by academia; this paper will present a framework for future study into the area, from the perspectives of popular music, jazz, and hybridity.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Keeping Jazz Alive through Dance Music: Perspectives from Electro Swing
Chris Inglis - The University of South Wales
Email: chris.inglis93@hotmail.com
/// ABSTRACT
The past decade has seen a rise in the production and consumption of the ‘electro swing’ genre – in which influences from the swing era (and related styles), are combined with those from the age of electronic dance music. The fusion of these styles has proved popular with audiences, and various artists – such as Parov Stelar, Caravan Palace, and Caro Emerald – have experienced considerable success.
But where does this style sit on the spectrum from jazz to popular music? Some argue that the genre exhibits the most legitimate example of present day jazz – the use of electronic dance music representing an evolution of the sound; whilst others suggest that this is purely contemporary dance music – the adoption of swing simply a novelty. Some may point out that jazz has always functioned as dance music, and that the inclusion of modern day dance music stays true to how early jazz was originally experienced; while others suggest that there should be no distinction between these two styles at all.
This paper will present and compare views collected from interviews with various artists involved in the electro swing genre, in order to reach a closer understanding with regard to these issues. Electro swing is an area of research which, despite its growing popularity, has largely been ignored by academia; this paper will present a framework for future study into the area, from the perspectives of popular music, jazz, and hybridity.
