Viswanathan, Sundar2018-05-282018-05-282017-10-112018-05-28http://hdl.handle.net/10315/34489In the following paper, I will address what I perceive to be a gap in scholarship regarding the evolution of African-American classical music (popularly referred to as jazz) following the end of its primary phase of development, which I would refer to as the pre- modern and modern periods, and which I define as stretching roughly from the turn of the last century until the end of the 1960s. To this end, I will borrow from concepts of postmodernism as expressed by Jean-Francois Lyotard, James Morley, and Kenneth Gloag, in order to attempt to define what I feel it means within the context of the jazz lineage. In the process of examining this post-history, I will bring particular focus to the contributions of two key figures, Keith Jarrett and Wynton Marsalis. I will also look at a series of my own compositions and consider where they fit into the postmodern paradigm.enAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.Performing artsElectronic Thesis or Dissertation2018-05-28JazzJazz studiesPostmodernismMusicJazz educationAfrican American studiesMusic educationCompositionJazz compositionJazz historyJazz pianoKeith JarrettWynton MarsalisPostmodern theoryJazz pedagogy