In her research, Loes Rusch focuses on the way Dutch musicians, policymakers, journalists and the public in the 1960s and 70s contributed tot he development of the idea of a typically Dutch style of jazz, known as ‘Dutch improvised music’. This period saw the emergence of a group of musicians including Misha Mengelberg, Han Bennink, Willem Breuker and Leo Cuypers, who no longer modelled their music on American jazz, but used the jazz idiom to find their own musical and cultural identity. Rusch tries to understand the meaning of jazz not just through the international musical context of jazz, but also as a cultural phenomenon within the national cultural-political context.
L. Rusch: ‘Our Subcultural Shit-Music’: Dutch Jazz, Representation, and Cultural Politics.
Prof. W. van de Leur
Prof. A.R. Whyton
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