ABSTRACT
Since the 1990s, the fragmentation and popularization of jazz into various streams has contributed to its continued relevance for younger audiences. Like other developments in the music world, these streams were beholden to new kinds of interactivity engendered by new media and the increasing professionalization and flexibility of young arts entre preneurs. Further, the innovative experimentation with audio and visual media meant that local artists could sometimes break into other musical markets. The case of the Netherlands reveals some of the ways that crossover aesthetics were increasingly present and successful in the music industry at home and abroad. Simultaneously, since 2000, Dutch conservatories have incorporated jazz as a major subject for study, systematically enhancing both the technical abilities of singers and instrumentalists and enhancing first and foremost their musical understanding of black American sources from blues and jazz to hip-hop and techno.
