Editing Jazz (section)

===Traditionalism===
Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form".<ref name="Elsdon">{{harvnb|Elsdon|2003}}</ref> Regarding the [[Dixieland jazz]] revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences.<ref name="Baraka">Baraka, Amiri (1999). ''[[iarchive:bluespeoplenegrobara|Blues People: Negro Music in White America]]''. Harper Perennial. {{ISBN|978-0-6881-8474-2}}.</ref><ref name="Davis">Davis, Miles & Troupe, Quincy (1990). ''[[iarchive:milesautobiograp00davi|Miles: The Autobiography]]''. Simon & Schuster. {{ISBN|0-6716-3504-2}}.</ref> On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and [[jazz fusion]] as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles.<ref name="gilbert">{{cite web|url=http://www.metrotimes.com/music/features/19/12/jazz.html |title=Jazz Inc.: The bottom line threatens the creative line in corporate America's approach to music |access-date=2001-07-20  |archive-url=https://web.archive.org/web/20010720153446/http://www.metrotimes.com/music/features/19/12/jazz.html |archive-date=2001-07-20}} by Andrew Gilbert, ''[[Metro Times]]'', December 23, 1998.</ref> By avoiding the creation of norms, jazz allows avant-garde styles to emerge.<ref name="Elsdon"/>