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Book
viii, 297 pages : illustrations ; 24 cm.
  • Histories of jazz in France
  • Hugues Panassié's supernatural swing : criticism, politics and the iconic jazz recording
  • Jazz between art and entertainment : André Hodeir and Thelonious Monk
  • Cool going cold : Miles Davis and Ascenseur pour l'échafaud
  • Barney Wilen : phantoms and freedom
  • Looking for something we don't yet know : towards a French jazz
  • A good jazzman is a dead jazzman.
  • Histories of jazz in France
  • Hugues Panassié's supernatural swing : criticism, politics and the iconic jazz recording
  • Jazz between art and entertainment : André Hodeir and Thelonious Monk
  • Cool going cold : Miles Davis and Ascenseur pour l'échafaud
  • Barney Wilen : phantoms and freedom
  • Looking for something we don't yet know : towards a French jazz
  • A good jazzman is a dead jazzman.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3509 .F7 P47 2015 Unknown
Book
103 pages : many photographs ; 24 cm.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
(no call number) Available
Book
72 pages : illustrations (some color) ; 22 x 30 cm
Stanford University Libraries
Status of items at Stanford University Libraries
Stanford University Libraries Status
On order
(no call number) Unavailable On order Request
Book
xvi, 194 pages ; 23 cm
  • Setting up
  • A rhetorical aesthetic of jazz
  • What jazz is
  • Where jazz comes from
  • What jazz does
  • How jazz works
  • So what?
Jazz is born of collaboration, improvisation, and listening. In much the same way, the American democratic experience is rooted in the interaction of individuals. It is these two seemingly disparate, but ultimately thoroughly American, conceits that Gregory Clark examines in Civic Jazz. Melding Kenneth Burke's concept of rhetorical communication and jazz music's aesthetic encounters with a rigorous sort of democracy, this book weaves an innovative argument about how individuals can preserve and improve civic life in a democratic culture. Jazz music, Clark argues, demonstrates how this aesthetic rhetoric of identification can bind people together through their shared experience in a common project. While such shared experience does not demand agreement-indeed, it often has an air of competition-it does align people in practical effort and purpose. Similarly, Clark shows, Burke considered Americans inhabitants of a persistently rhetorical situation, in which each must choose constantly to identify with some and separate from others. Thought-provoking and path-breaking, Clark's harmonic mashup of music and rhetoric will appeal to scholars across disciplines as diverse as political science, performance studies, musicology, and literary criticism.
(source: Nielsen Book Data)
  • Setting up
  • A rhetorical aesthetic of jazz
  • What jazz is
  • Where jazz comes from
  • What jazz does
  • How jazz works
  • So what?
Jazz is born of collaboration, improvisation, and listening. In much the same way, the American democratic experience is rooted in the interaction of individuals. It is these two seemingly disparate, but ultimately thoroughly American, conceits that Gregory Clark examines in Civic Jazz. Melding Kenneth Burke's concept of rhetorical communication and jazz music's aesthetic encounters with a rigorous sort of democracy, this book weaves an innovative argument about how individuals can preserve and improve civic life in a democratic culture. Jazz music, Clark argues, demonstrates how this aesthetic rhetoric of identification can bind people together through their shared experience in a common project. While such shared experience does not demand agreement-indeed, it often has an air of competition-it does align people in practical effort and purpose. Similarly, Clark shows, Burke considered Americans inhabitants of a persistently rhetorical situation, in which each must choose constantly to identify with some and separate from others. Thought-provoking and path-breaking, Clark's harmonic mashup of music and rhetoric will appeal to scholars across disciplines as diverse as political science, performance studies, musicology, and literary criticism.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3508 .C53 2015 Unknown
Book
xii, 250 pages : illustrations ; 24 cm.
  • 1. Introduction: Jazz as a Collective Problem Nicholas Gebhardt 2. Complaining Time is Over:" Network and Collective Strategies of The New York Musicians Organization Michael C. Heller 3. Playing politics: Dutch improvising musicians facing the authorities Loes Rusch 4. Sound Visions and Free Initiatives: The Cultural Politics of Creative Improvised Music Collectives A. Scott Currie 5. Musical Hybridity in the New European City: The Jazz Hip Hop Collectives of C-Mon & Kypski and Kytopia Kristin McGee 6. Collective Cultures and Live Jazz in Birmingham Tim Wall and Simon Barber 7. San Francisco State University's Music Federation: The Political Machine behind a Jazz Cooperative for Teachers Meredith Eliassen 8. MINNET: Transcending Genre Boundaries, Organizing Diversity Alf Arvidsson and Jorgen Adolfsson 9. 'Wonderbrass' as a South Wales Community Jazz Collective Rob Smith 10. Jazz networks in Austria - the young initiative JazzWerkstatt Christa Bruckner-Haring and Michael Kahr 11. Improvisational conduct and case studies from the margins - an insider's view on negotiating the collective Petter Frost Fadnes 12. Collective practice and digital mediation Andrew Dubber 13. Conclusion: Towards a Collective Jazz Studies Tony Whyton.
  • (source: Nielsen Book Data)
The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden's Ett minne for livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria's JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.
(source: Nielsen Book Data)
  • 1. Introduction: Jazz as a Collective Problem Nicholas Gebhardt 2. Complaining Time is Over:" Network and Collective Strategies of The New York Musicians Organization Michael C. Heller 3. Playing politics: Dutch improvising musicians facing the authorities Loes Rusch 4. Sound Visions and Free Initiatives: The Cultural Politics of Creative Improvised Music Collectives A. Scott Currie 5. Musical Hybridity in the New European City: The Jazz Hip Hop Collectives of C-Mon & Kypski and Kytopia Kristin McGee 6. Collective Cultures and Live Jazz in Birmingham Tim Wall and Simon Barber 7. San Francisco State University's Music Federation: The Political Machine behind a Jazz Cooperative for Teachers Meredith Eliassen 8. MINNET: Transcending Genre Boundaries, Organizing Diversity Alf Arvidsson and Jorgen Adolfsson 9. 'Wonderbrass' as a South Wales Community Jazz Collective Rob Smith 10. Jazz networks in Austria - the young initiative JazzWerkstatt Christa Bruckner-Haring and Michael Kahr 11. Improvisational conduct and case studies from the margins - an insider's view on negotiating the collective Petter Frost Fadnes 12. Collective practice and digital mediation Andrew Dubber 13. Conclusion: Towards a Collective Jazz Studies Tony Whyton.
  • (source: Nielsen Book Data)
The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden's Ett minne for livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria's JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3506 .C85 2015 Unknown
Book
xvi, 194 pages : illustrations ; 24 cm.
  • Introduction 1 Dress Theory, Fashion and a Jazz Aesthetic 2 A Stylish History of Jazz: 1900-1960 3 A Narrative of Jazz Modernity 4 Assessing Elitism and Branding in Jazz 5 Gendered Identities, Ideologies and Cultural Difference 6 Subversive Representation: Vernacular, Dress and Morality 7 Narcotics and Jazz: A Fashionable Addiction 8 Beyond the Gardenia: Billie Holiday 9 Aesthetics of the Jazz Dandy 10 Philadelphia Nightlife, Nostalgia and Popular Culture Coda Appendix I: Recommended Listening Appendix II: Recommended Viewing Bibliography Index.
  • (source: Nielsen Book Data)
Born in the late 19th century, jazz gained mainstream popularity during a volatile period of racial segregation and gender inequality. It was in these adverse conditions that jazz performers discovered the power of dress as a visual tool used to defy mainstream societal constructs, shaping a new fashion and style aesthetic. Fashion and Jazz is the first study to identify the behaviours, signs and meanings that defined this newly evolving subculture. Drawing on fashion studies and cultural theory, the book provides an in-depth analysis of the social and political entanglements of jazz and dress, with individual chapters exploring key themes such as race, class and gender. Including a wide variety of case studies, ranging from Billie Holiday and Ella Fitzgerald to Louis Armstrong and Chet Baker, it presents a critical and cultural analysis of jazz performers as modern icons of fashion and popular style. Addressing a number of previously underexplored areas of jazz culture, such as modern dandyism and the link between drug use and glamorous dress, Fashion and Jazz provides a fascinating history of fashion's dialogue with African-American art and style. It is essential reading for students of fashion, cultural studies, African-American studies and history.
(source: Nielsen Book Data)
  • Introduction 1 Dress Theory, Fashion and a Jazz Aesthetic 2 A Stylish History of Jazz: 1900-1960 3 A Narrative of Jazz Modernity 4 Assessing Elitism and Branding in Jazz 5 Gendered Identities, Ideologies and Cultural Difference 6 Subversive Representation: Vernacular, Dress and Morality 7 Narcotics and Jazz: A Fashionable Addiction 8 Beyond the Gardenia: Billie Holiday 9 Aesthetics of the Jazz Dandy 10 Philadelphia Nightlife, Nostalgia and Popular Culture Coda Appendix I: Recommended Listening Appendix II: Recommended Viewing Bibliography Index.
  • (source: Nielsen Book Data)
Born in the late 19th century, jazz gained mainstream popularity during a volatile period of racial segregation and gender inequality. It was in these adverse conditions that jazz performers discovered the power of dress as a visual tool used to defy mainstream societal constructs, shaping a new fashion and style aesthetic. Fashion and Jazz is the first study to identify the behaviours, signs and meanings that defined this newly evolving subculture. Drawing on fashion studies and cultural theory, the book provides an in-depth analysis of the social and political entanglements of jazz and dress, with individual chapters exploring key themes such as race, class and gender. Including a wide variety of case studies, ranging from Billie Holiday and Ella Fitzgerald to Louis Armstrong and Chet Baker, it presents a critical and cultural analysis of jazz performers as modern icons of fashion and popular style. Addressing a number of previously underexplored areas of jazz culture, such as modern dandyism and the link between drug use and glamorous dress, Fashion and Jazz provides a fascinating history of fashion's dialogue with African-American art and style. It is essential reading for students of fashion, cultural studies, African-American studies and history.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GT596 .M378 2015 Unknown
Book
xix, 256 pages ; 24 cm.
For the first time in English, this is the classic treatise that developed a radical new understanding of free jazz and African American culture. In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions - free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. It remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists.
(source: Nielsen Book Data)
For the first time in English, this is the classic treatise that developed a radical new understanding of free jazz and African American culture. In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions - free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. It remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3561 .J3 C3213 2015 Unknown
Book
245 pages ; 25 cm
"In the midst of boomtown Chicago, two Jewish families have suffered terrible blows. The Lehrmans, who run a small hat factory, lost their beloved son Harold in a blizzard. The Chimbrovas, who run a saloon, lost three of their boys on the SS Eastland when it sank in 1915. Each family holds out hope that one of their remaining children will rise to carry on the family business. But Benny Lehrman has no interest in making hats. His true passion is piano--especially jazz. At night he sneaks down to the South Side, slipping into predominantly black clubs to hear jazz groups play. One night he is called out and asked to sit in on a group. His playing is first-rate, and the other musicians are impressed"--Amazon.com.
"In the midst of boomtown Chicago, two Jewish families have suffered terrible blows. The Lehrmans, who run a small hat factory, lost their beloved son Harold in a blizzard. The Chimbrovas, who run a saloon, lost three of their boys on the SS Eastland when it sank in 1915. Each family holds out hope that one of their remaining children will rise to carry on the family business. But Benny Lehrman has no interest in making hats. His true passion is piano--especially jazz. At night he sneaks down to the South Side, slipping into predominantly black clubs to hear jazz groups play. One night he is called out and asked to sit in on a group. His playing is first-rate, and the other musicians are impressed"--Amazon.com.
Green Library
Status of items at Green Library
Green Library Status
HAS Fiction (Lane Room) Find it
PS3563 .O87445 J39 2015 Unknown
Book
xv, 246 pages : illustrations ; 24 cm.
  • 1. Introduction 2. Pimps, Rebels, and Volkswagens 3. Autoeroticism: Sex, Cars, and Jazz 4. The New Sound of Cola 5. "The Bank of Music" 6. Conclusion.
  • (source: Nielsen Book Data)
Jazz Sells: Music, Marketing, and Meaning examines the issues of jazz, consumption, and capitalism through advertising. On television, on the Internet, in radio, and in print, advertising is a critically important medium for the mass dissemination of music and musical meaning. This book is a study of the use of the jazz genre as a musical signifier in promotional efforts, exploring how the relationship between brand, jazz music, and jazz discourses come together to create meaning for the product and the consumer. At the same time, it examines how jazz offers an invaluable lens through which to examine the complex and often contradictory culture of consumption upon which capitalism is predicated.
(source: Nielsen Book Data)
  • 1. Introduction 2. Pimps, Rebels, and Volkswagens 3. Autoeroticism: Sex, Cars, and Jazz 4. The New Sound of Cola 5. "The Bank of Music" 6. Conclusion.
  • (source: Nielsen Book Data)
Jazz Sells: Music, Marketing, and Meaning examines the issues of jazz, consumption, and capitalism through advertising. On television, on the Internet, in radio, and in print, advertising is a critically important medium for the mass dissemination of music and musical meaning. This book is a study of the use of the jazz genre as a musical signifier in promotional efforts, exploring how the relationship between brand, jazz music, and jazz discourses come together to create meaning for the product and the consumer. At the same time, it examines how jazz offers an invaluable lens through which to examine the complex and often contradictory culture of consumption upon which capitalism is predicated.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3506 .L38 2015 Unknown
Book
xiv, 202 pages, 8 unnumbered pages of plates : illustrations ; 24 cm.
  • Climate
  • Development
  • Preparation
  • Music
  • Post-production
  • Aftermath
  • Beyond brew
  • Miles in 3-D : image of Bitches Brew.
This is the first close critical treatment of the album that shook jazz with its electric sound and rock-influenced style. Listen to This stands is the first book exclusively dedicated to Miles Davis' watershed 1969 album, Bitches Brew. It traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock and roll and as Davis (1926-1991) faced large changes in social conditions affecting the African-American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis' new music projected rock and roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African-American reality. Many listeners embraced it, while others misunderstood and rejected it. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis - his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and scepticism surrounding the album, and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material.
(source: Nielsen Book Data)
  • Climate
  • Development
  • Preparation
  • Music
  • Post-production
  • Aftermath
  • Beyond brew
  • Miles in 3-D : image of Bitches Brew.
This is the first close critical treatment of the album that shook jazz with its electric sound and rock-influenced style. Listen to This stands is the first book exclusively dedicated to Miles Davis' watershed 1969 album, Bitches Brew. It traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock and roll and as Davis (1926-1991) faced large changes in social conditions affecting the African-American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis' new music projected rock and roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African-American reality. Many listeners embraced it, while others misunderstood and rejected it. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis - his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and scepticism surrounding the album, and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML419 .D39 S86 2015 Unknown
Book
x, 377 pages : illustrations ; 24 cm.
  • A face not built for gloom (1935-1951)
  • Boy wonder terrorist (1951-1955)
  • '56 not '45 (1956-1958)
  • The end of the old order (1958-1959)
  • Now its who have they got? (1959-1961)
  • Down in the village (1961-1962)
  • Tubby Hayes loves you madly (1963-1964)
  • The best of both worlds (1964-1965)
  • Addictive tendencies (1966-1967)
  • The other scene (1967-1968)
  • The beginning of the end (1969-1972)
  • It'll be me next (1972-1973)
  • Afterword. The lost leader? The legacy of Tubby Hayes.
  • A face not built for gloom (1935-1951)
  • Boy wonder terrorist (1951-1955)
  • '56 not '45 (1956-1958)
  • The end of the old order (1958-1959)
  • Now its who have they got? (1959-1961)
  • Down in the village (1961-1962)
  • Tubby Hayes loves you madly (1963-1964)
  • The best of both worlds (1964-1965)
  • Addictive tendencies (1966-1967)
  • The other scene (1967-1968)
  • The beginning of the end (1969-1972)
  • It'll be me next (1972-1973)
  • Afterword. The lost leader? The legacy of Tubby Hayes.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML419 .H3525 S65 2015 Unavailable On order Request
Book
xx, 195 pages : illustrations ; 23 cm
  • Foreword Acknowledgments Introduction Part I: Prelude Chapter 1: Stuart Davis and the Art of Jazz Chapter 2: Arthur Dove and George Gershwin: A Brush with Rhapsody in Blue Chapter 3: Romare Bearden and Visual Jazz Chapter 4: European Artists and American Jazz Chapter 5: Kandinsky and Schoenberg: On the Verge Part II: Interlude 1 Chapter 6: Dave Brubeck and His Reflections on Miro: Music and Art across Time Chapter 7: Paul Klee: The Music in the Art Chapter 8: Mark Rothko and Morton Feldman: Somewhere between Presence and Absence, Sound and Silence Chapter 9: Earle Brown and Alexander Calder: Who's in Control? Chapter 10: John Cage and Robert Rauschenberg: Life in Art - Art in Life Part III: Interlude 2 Chapter 11: Claude Debussy and Fin de Siecle Chapter 12: Cubism in Art and Music Chapter 13: Georgia O'Keeffe and American Modernist Composers: The Spirit of a New Century Chapter 14: Diego Rivera and Carlos Chavez: Voices of Mexico in Art and Music Chapter 15: Minimalism in Art and Music Postlude Glossary Works Cited About the Author.
  • (source: Nielsen Book Data)
Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor into an open dialog. Although the worlds of music and visual art often seem to take separate paths, they are usually parallel. Conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the twentieth century to identify the shared sources of inspiration, as well as similarities in theme, style, and technique, to explore the historical and cultural influences on the great artists and composers in the twentieth century. Looking and Listening asks and answers: *What does jazz have in common with paintings by Stuart Davis and Piet Mondrian? *How did Gershwin's Rhapsody in Blue affect the work of artist Arthur Dove? *How did painter Georgia O'Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the twentieth century? *What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists, surveying many of the key movements in the twentieth century by comparing representative works from the modern masters of the visual arts and music. Leach's refreshing and innovation approach will interest those passionate about twentieth-century art and music and is ideal for any student or instructor, museum docent, or music programmer seeking to draw the lines of connection between these two art forms.
(source: Nielsen Book Data)
  • Foreword Acknowledgments Introduction Part I: Prelude Chapter 1: Stuart Davis and the Art of Jazz Chapter 2: Arthur Dove and George Gershwin: A Brush with Rhapsody in Blue Chapter 3: Romare Bearden and Visual Jazz Chapter 4: European Artists and American Jazz Chapter 5: Kandinsky and Schoenberg: On the Verge Part II: Interlude 1 Chapter 6: Dave Brubeck and His Reflections on Miro: Music and Art across Time Chapter 7: Paul Klee: The Music in the Art Chapter 8: Mark Rothko and Morton Feldman: Somewhere between Presence and Absence, Sound and Silence Chapter 9: Earle Brown and Alexander Calder: Who's in Control? Chapter 10: John Cage and Robert Rauschenberg: Life in Art - Art in Life Part III: Interlude 2 Chapter 11: Claude Debussy and Fin de Siecle Chapter 12: Cubism in Art and Music Chapter 13: Georgia O'Keeffe and American Modernist Composers: The Spirit of a New Century Chapter 14: Diego Rivera and Carlos Chavez: Voices of Mexico in Art and Music Chapter 15: Minimalism in Art and Music Postlude Glossary Works Cited About the Author.
  • (source: Nielsen Book Data)
Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor into an open dialog. Although the worlds of music and visual art often seem to take separate paths, they are usually parallel. Conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the twentieth century to identify the shared sources of inspiration, as well as similarities in theme, style, and technique, to explore the historical and cultural influences on the great artists and composers in the twentieth century. Looking and Listening asks and answers: *What does jazz have in common with paintings by Stuart Davis and Piet Mondrian? *How did Gershwin's Rhapsody in Blue affect the work of artist Arthur Dove? *How did painter Georgia O'Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the twentieth century? *What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists, surveying many of the key movements in the twentieth century by comparing representative works from the modern masters of the visual arts and music. Leach's refreshing and innovation approach will interest those passionate about twentieth-century art and music and is ideal for any student or instructor, museum docent, or music programmer seeking to draw the lines of connection between these two art forms.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3849 .L42 2015 Unknown
Book
455 pages : illustrations ; 23 cm
  • Einleitung
  • "In mir habt Ihr einen, auf den könnt Ihr nicht bauen" : Konstanten und Konstruktionen
  • Eva
  • Was ist wahr? Leben in unsicheren Zeiten
  • "The face on the cutting-room floor"
  • Vorbild Brecht
  • "In diesem Sinne bin ich ein Jude" : Lob der Diaspora
  • Hören Die Ethnologie des Jazz
  • Das schwarze London : eine transkulturelle Erfahrung
  • "A History of American Negro Music"
  • "The anthropologist looks at Jazz"
  • Im Krieg der Kritiker : Blues gegen Swing und Bebop
  • Jazz in Paris
  • Jazz im Film
  • Der Beat ist zurück : das Blues-Revival in Großbritannien
  • Jazz in Deutschland
  • Die spanische Färbung : Kreolischer Jazz
  • Sound and vision : Beat im Fernsehen
  • Schwarzes Licht, weißer Schatten : Free Jazz und Black Nationalism
  • "Ich möchte wohl ein Neger sein"
  • Sehen
  • Das Leben auf der Leinwand
  • National Film Board of Canada
  • Laokoon im Schaffenskampf
  • Borneman und Grierson
  • Inhalt und Form
  • Arbeit und Vergnügen
  • Verfolgung der Familien
  • UNESCO
  • Back to Berlin
  • "Dear Ernest, live simply" : Zusammenarbeit mit Orson Wel-les
  • Freiberuflich für Fernsehen und Radio
  • In den Chefetagen des britischen Privatfernsehens
  • Zurück nach Deutschland?
  • Freies Fernsehen
  • Geschmackswellen erfinden : Bornemans Konzept
  • Das Programm
  • Unterhaltung oder Information?
  • Programm und Ästhetik des Fernsehens
  • Familien- oder Zielgruppenprogramm?
  • "Deutsches" oder "englisches" Fernsehen?
  • Berühren Sex und Gesellschaft
  • Freiheit von Angst : die "sexuelle revolution"
  • Die Sexuallexika
  • Kindliche Sexualität
  • Das veröffentlichte Private : Bornemans Sexleben
  • "Marx der Frauenbewegung" : "Das Patriarchat" und der Feminismus der 70er Jahre
  • Die Entstehung des "Hauptwerks"
  • Bornemans Psychologie und die Verwissenschaftlichung des Sozialen
  • Die öffentliche Debatte um "Das Patriarchat"
  • Die Rezeption in der Frauenbewegung
  • Bornemans Wunschautobiografie : die "Ur-Szene"
  • "Sex-Onkel" in den Medien
  • Neue Revue
  • Die Auseinandersetzung mit Volkmar Sigusch
  • Sexualität konkret
  • Trieb und Strafe
  • Dauergast in den Talkshows
  • Pädophilie und Kindesmiss-brauch
  • Aus!
  • Leichen am Wegrand Schluss
  • Anmerkungen
  • Abkürzungen
  • Bildnachweis
  • Quellen und Literatur
  • Personenregister.
  • Einleitung
  • "In mir habt Ihr einen, auf den könnt Ihr nicht bauen" : Konstanten und Konstruktionen
  • Eva
  • Was ist wahr? Leben in unsicheren Zeiten
  • "The face on the cutting-room floor"
  • Vorbild Brecht
  • "In diesem Sinne bin ich ein Jude" : Lob der Diaspora
  • Hören Die Ethnologie des Jazz
  • Das schwarze London : eine transkulturelle Erfahrung
  • "A History of American Negro Music"
  • "The anthropologist looks at Jazz"
  • Im Krieg der Kritiker : Blues gegen Swing und Bebop
  • Jazz in Paris
  • Jazz im Film
  • Der Beat ist zurück : das Blues-Revival in Großbritannien
  • Jazz in Deutschland
  • Die spanische Färbung : Kreolischer Jazz
  • Sound and vision : Beat im Fernsehen
  • Schwarzes Licht, weißer Schatten : Free Jazz und Black Nationalism
  • "Ich möchte wohl ein Neger sein"
  • Sehen
  • Das Leben auf der Leinwand
  • National Film Board of Canada
  • Laokoon im Schaffenskampf
  • Borneman und Grierson
  • Inhalt und Form
  • Arbeit und Vergnügen
  • Verfolgung der Familien
  • UNESCO
  • Back to Berlin
  • "Dear Ernest, live simply" : Zusammenarbeit mit Orson Wel-les
  • Freiberuflich für Fernsehen und Radio
  • In den Chefetagen des britischen Privatfernsehens
  • Zurück nach Deutschland?
  • Freies Fernsehen
  • Geschmackswellen erfinden : Bornemans Konzept
  • Das Programm
  • Unterhaltung oder Information?
  • Programm und Ästhetik des Fernsehens
  • Familien- oder Zielgruppenprogramm?
  • "Deutsches" oder "englisches" Fernsehen?
  • Berühren Sex und Gesellschaft
  • Freiheit von Angst : die "sexuelle revolution"
  • Die Sexuallexika
  • Kindliche Sexualität
  • Das veröffentlichte Private : Bornemans Sexleben
  • "Marx der Frauenbewegung" : "Das Patriarchat" und der Feminismus der 70er Jahre
  • Die Entstehung des "Hauptwerks"
  • Bornemans Psychologie und die Verwissenschaftlichung des Sozialen
  • Die öffentliche Debatte um "Das Patriarchat"
  • Die Rezeption in der Frauenbewegung
  • Bornemans Wunschautobiografie : die "Ur-Szene"
  • "Sex-Onkel" in den Medien
  • Neue Revue
  • Die Auseinandersetzung mit Volkmar Sigusch
  • Sexualität konkret
  • Trieb und Strafe
  • Dauergast in den Talkshows
  • Pädophilie und Kindesmiss-brauch
  • Aus!
  • Leichen am Wegrand Schluss
  • Anmerkungen
  • Abkürzungen
  • Bildnachweis
  • Quellen und Literatur
  • Personenregister.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
ML423 .B67 S54 2015 Available
Book
xvi, 369 pages : illustrations ; 25 cm
  • Chapter One: First Meditations -- Chapter Two: Procession of the Great Ancestry: Traditions Jazz and Religious -- Chapter Three: Shadows on a Wall: Jazz Narrates American Religions -- Chapter Four: Urban Magic: Jazz Communitarianism -- Chapter Five: The Magic of Juju: Improvising Ritual -- Chapter Six: The Tao of Mad Phat: Jazz Meditation and Mysticism -- Chapter Seven: Other Planes of There: Jazz Cosmologies and Harmonialism -- Chapter Eight: Spirits Rejoice! Beyond "Religion" -- Notes -- Bibliography -- Index.
  • (source: Nielsen Book Data)
Spirits Rejoice! takes its name from a record by jazz saxophonist of the mid-1960s, Albert Ayler-later used, with an exclamation point added, by Louis Moholo-Moholo-and is appropriated in Jason Bivins's book to express the overlap of religion and jazz music through history. Bivins explore themes that have resounded throughout the musical genre that are also integral to the practice of religions in the United States. Much writing about jazz falls into one of three categories: glorified record reviews or discographies; impressionistic descriptions of the actual sounds and dense musicological analyses; or contextualizing it within institutions or extant narratives that are easier to analyze. Using religious studies as a point of comparison Bivins seeks to go beyond these approaches. Instead, he takes to heart a commonly invoked characteristic of jazz, and improvises on the standard questions and stories that might be told. Rather than producing a history or a series of biographical entries, Spirits Rejoice! will generate a collection of themes, pursuits, reoccurring foci, and interpretations. When ranging across the cultural history of American jazz, these themes emerge not just in the musicians' own words (in interviews, liner notes, or journals) but also from the bandstand, audience reception, and critical interrogation. Bivins looks at themes such as musical creativity as related to specific religious traditions, jazz as a form of ritual and healing, and jazz cosmologies and metaphysics, drawing conclusions that explore how "the sound of spirits rejoicing" challenges not only prevailing understandings of race and music, but also the way we think about "religion.".
(source: Nielsen Book Data)
  • Chapter One: First Meditations -- Chapter Two: Procession of the Great Ancestry: Traditions Jazz and Religious -- Chapter Three: Shadows on a Wall: Jazz Narrates American Religions -- Chapter Four: Urban Magic: Jazz Communitarianism -- Chapter Five: The Magic of Juju: Improvising Ritual -- Chapter Six: The Tao of Mad Phat: Jazz Meditation and Mysticism -- Chapter Seven: Other Planes of There: Jazz Cosmologies and Harmonialism -- Chapter Eight: Spirits Rejoice! Beyond "Religion" -- Notes -- Bibliography -- Index.
  • (source: Nielsen Book Data)
Spirits Rejoice! takes its name from a record by jazz saxophonist of the mid-1960s, Albert Ayler-later used, with an exclamation point added, by Louis Moholo-Moholo-and is appropriated in Jason Bivins's book to express the overlap of religion and jazz music through history. Bivins explore themes that have resounded throughout the musical genre that are also integral to the practice of religions in the United States. Much writing about jazz falls into one of three categories: glorified record reviews or discographies; impressionistic descriptions of the actual sounds and dense musicological analyses; or contextualizing it within institutions or extant narratives that are easier to analyze. Using religious studies as a point of comparison Bivins seeks to go beyond these approaches. Instead, he takes to heart a commonly invoked characteristic of jazz, and improvises on the standard questions and stories that might be told. Rather than producing a history or a series of biographical entries, Spirits Rejoice! will generate a collection of themes, pursuits, reoccurring foci, and interpretations. When ranging across the cultural history of American jazz, these themes emerge not just in the musicians' own words (in interviews, liner notes, or journals) but also from the bandstand, audience reception, and critical interrogation. Bivins looks at themes such as musical creativity as related to specific religious traditions, jazz as a form of ritual and healing, and jazz cosmologies and metaphysics, drawing conclusions that explore how "the sound of spirits rejoicing" challenges not only prevailing understandings of race and music, but also the way we think about "religion.".
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3921.8 .J39 B58 2015 Unknown
Book
xviii, 487 pages, 20 unnumbered pages of plates : illustrations (some color) ; 24 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .C739 P76 2015 Unavailable On order Request
Book
261 pages ; 22 cm
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PS3602 .E7683 A13 2014 Unknown
Book
313 p. ; 24 cm.
""Depuis le décès de mon "protecteur" Boris Vian, une coalition de requins a foutu un insidieux embargo sur mes pompes et mes oeuvres, sous prétexte, paraît-il, que j'écris "vach'tement compliqué" (sic)..., ça dérange, et surtout parce que je la ramène trop dans les studios quand ça tourne pas rond, à cause d'un souci de perfection dont le monde des avachis se cagne. Dans le Dictionnaire des crabes, "perfection" a été remplacé par "À la bonne franquette", monnaie courante..." Cet ouvrage est une chronique rétrospective que nous a laissée André Persiani, musicien français. Il nous offre un témoignage incomparable sur une tranche de l'histoire musicale, sociale et politique du XXe siècle. Écrit dans un style dont la gouaille et la causticité ne le cèdent en rien à la concision du propos, il retrace une sorte de cavalcade autobiographique et encyclopédique dans laquelle Rabelais, Michel Audiard, Pierre Dac et un critique de jazz seraient au coude à coude."--P. [4] of cover.
""Depuis le décès de mon "protecteur" Boris Vian, une coalition de requins a foutu un insidieux embargo sur mes pompes et mes oeuvres, sous prétexte, paraît-il, que j'écris "vach'tement compliqué" (sic)..., ça dérange, et surtout parce que je la ramène trop dans les studios quand ça tourne pas rond, à cause d'un souci de perfection dont le monde des avachis se cagne. Dans le Dictionnaire des crabes, "perfection" a été remplacé par "À la bonne franquette", monnaie courante..." Cet ouvrage est une chronique rétrospective que nous a laissée André Persiani, musicien français. Il nous offre un témoignage incomparable sur une tranche de l'histoire musicale, sociale et politique du XXe siècle. Écrit dans un style dont la gouaille et la causticité ne le cèdent en rien à la concision du propos, il retrace une sorte de cavalcade autobiographique et encyclopédique dans laquelle Rabelais, Michel Audiard, Pierre Dac et un critique de jazz seraient au coude à coude."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML419 .P4823 A3 2014 Unknown
Book
151 pages ; 22 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3508.8 .N5 L44 2014 Unknown
Book
xi, 230 pages : illustrations ; 24 cm.
  • Contents: Introduction: Another place, another race? Thinking through jazz, ethnicity and diaspora in Britain, Jason Toynbee, Catherine Tackley and Mark Doffman-- Part I Routes: Towards a black British jazz: studies in acculturation, 1860-1935, Howard Rye-- Tiger Bay and the roots/routes of black British jazz, Catherine Tackley-- Is reggae to black British music as blues is to jazz? Caribbean roots/routes in imaginings of black British jazz, Kenneth Bilby. Part II Ownership: race, consecration and the 'music outside'? The making of the British jazz avant-garde: 1968-1973, Mark Banks and Jason Toynbee-- 'What you doin' here?' The sounds, sensibilities and belonging(s) of black British jazz musicians, Mark Doffman-- Soweto's war: race, class and jazz/hip-hop hybridities, Justin Williams. Part III Performance: Winfred Atwell and her 'other piano': 16 hit singles and 'a blanket of silence', sounding the limits of jazz?, George McKay-- Camping up jazz's modernity: Reginald Foresythe, Theodor Adorno and the Black Atlantic, George Burrows-- Standard, advantage, and race in British discourse about jazz, Byron Dueck-- Index.
  • (source: Nielsen Book Data)
Black British musicians have been making jazz since around 1920 when the genre first arrived in Britain. This groundbreaking book reveals their hidden history and major contribution to the development of jazz in the UK. More than this, though, the chapters show the importance of black British jazz in terms of musical hybridity and the cultural significance of race. Decades before Steel Pulse, Soul II Soul, or Dizzee Rascal pushed their way into the mainstream, black British musicians were playing jazz in venues up and down the country from dance halls to tiny clubs. In an important sense, then, black British jazz demonstrates the crucial importance of musical migration in the musical history of the nation, and the links between popular and avant-garde forms. But the volume also provides a case study in how music of the African diaspora reverberates around the world, beyond the shores of the USA - the engine-house of global black music. As such it will engage scholars of music and cultural studies not only in Britain, but across the world.
(source: Nielsen Book Data)
  • Contents: Introduction: Another place, another race? Thinking through jazz, ethnicity and diaspora in Britain, Jason Toynbee, Catherine Tackley and Mark Doffman-- Part I Routes: Towards a black British jazz: studies in acculturation, 1860-1935, Howard Rye-- Tiger Bay and the roots/routes of black British jazz, Catherine Tackley-- Is reggae to black British music as blues is to jazz? Caribbean roots/routes in imaginings of black British jazz, Kenneth Bilby. Part II Ownership: race, consecration and the 'music outside'? The making of the British jazz avant-garde: 1968-1973, Mark Banks and Jason Toynbee-- 'What you doin' here?' The sounds, sensibilities and belonging(s) of black British jazz musicians, Mark Doffman-- Soweto's war: race, class and jazz/hip-hop hybridities, Justin Williams. Part III Performance: Winfred Atwell and her 'other piano': 16 hit singles and 'a blanket of silence', sounding the limits of jazz?, George McKay-- Camping up jazz's modernity: Reginald Foresythe, Theodor Adorno and the Black Atlantic, George Burrows-- Standard, advantage, and race in British discourse about jazz, Byron Dueck-- Index.
  • (source: Nielsen Book Data)
Black British musicians have been making jazz since around 1920 when the genre first arrived in Britain. This groundbreaking book reveals their hidden history and major contribution to the development of jazz in the UK. More than this, though, the chapters show the importance of black British jazz in terms of musical hybridity and the cultural significance of race. Decades before Steel Pulse, Soul II Soul, or Dizzee Rascal pushed their way into the mainstream, black British musicians were playing jazz in venues up and down the country from dance halls to tiny clubs. In an important sense, then, black British jazz demonstrates the crucial importance of musical migration in the musical history of the nation, and the links between popular and avant-garde forms. But the volume also provides a case study in how music of the African diaspora reverberates around the world, beyond the shores of the USA - the engine-house of global black music. As such it will engage scholars of music and cultural studies not only in Britain, but across the world.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3509 .G7 B63 2014 Unknown
Book
187 p. : ill. (some col.) ; 31 cm
Music Library
Status of items at Music Library
Music Library Status
Folio
ML87 .B59 2014 F Unknown

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