Revisiting Kenny G (Colloquy)
Aesthetic Abjection - Kenny G From the Saxophonists’ Perspective
Bibliographic Data
| ID | 5777772 |
|---|---|
| Authors | Adrianne Honnold (Lewis University, corresponding author) |
| Year | 2023 |
| Volume | 14 |
| Issue | 1 |
| Pages | 47-58 |
| Publication date | 2023-05-30 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Jazz Studies (JOURNAL) |
| Journal identifiers | ISSN: 2158-1401 • E-ISSN: 2158-1401 |
| Publisher | Rutgers University Libraries (PUBLISHER • US) |
| DOI | 10.14713/jjs.v14i1.249 |
| OpenAlex | W4379933258 |
| Language | EN |
| References cited | 13 |
Saxophonists have a complicated relationship with Kenny G. His presence as the public face of the instrument is often contested by members of the saxophone community for a variety of reasons ranging from doubts about his authenticity and integrity to a perception of his lack of taste and skill, which has resulted in a form of aesthetic abjection of him and his music. Through a brief exploration of historical contexts, narratives from community members, and a survey of some of his career choices, this essay aims to illustrate that the saxophonists' rejection of Kenny G serves to diminish the public's understanding of the instrument's significance
Diverse Musicological Studies · Music History and Culture · Musicology and Musical Analysis
The Routledge Companion to Jazz and Gender
The Oxford Handbook of Western Music and Philosophy
How Jews became white folks and what that says about race in America
Dave Brubeck and the Performance of Whiteness
School for Cool
Why I’m no longer talking to white people about race’
Knowing Jazz
Jazz
Hot Stuff
Birds of Fire
Black Power, Jewish Politics
| Highly cited | No |
|---|