Jazz has today, especially since its establishment in the academic field at the end of the 1980s, an ambiguous position regarding popular music. This particular demarcation is also evident in its anomalous relationship with the videoclip, the dominant narrative in popular music and where jazz does not have a usual representational space, despite its previous prominence through formats such as soundies and scopitones. In defiance of the relatively frequent video recordings of concerts and promotional teasers, the videoclip as an autonomous aesthetic discourse is not widespread. The main objective of this text is to examine critically the reasons for this relationship, with special attention to the European context. For this purpose, I will analyze several examples and consider issues such as the notion of narrative associated with instrumental music, the autonomy of the video clip language and the relationship between jazz and other musical genres.
Pop music, jazz, videoclip, symptom.