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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
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.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3506 .C85 2015 Unavailable On order Request
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
SSRC: new books shelf 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
Stacks Find it
PS3563 .O87445 J39 2015 Unavailable In process Request
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
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.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML423 .B67 S54 2015 Unavailable On order Request
Book
xvi, 369 pages : illustrations ; 25 cm
  • First meditations
  • Procession of the great ancestry : traditions jazz and religious
  • Shadows on a wall : jazz narrates American religions
  • Urban magic : jazz communitarianism
  • The magic of Juju : improvising ritual
  • The Tao of mad Phat : jazz meditation and mysticism
  • Other planes of there : jazz cosmologies and metaphysics
  • Spirits rejoice! : beyond religion.
  • First meditations
  • Procession of the great ancestry : traditions jazz and religious
  • Shadows on a wall : jazz narrates American religions
  • Urban magic : jazz communitarianism
  • The magic of Juju : improvising ritual
  • The Tao of mad Phat : jazz meditation and mysticism
  • Other planes of there : jazz cosmologies and metaphysics
  • Spirits rejoice! : beyond religion.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3921.8 .J39 B58 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
Book
xvi, 205 pages : illustrations ; 24 cm
  • Contents: Foreword-- Introduction-- Part I Authenticity in Black Music and Poetry: Original rags: African-American secular music and the cultural legacy of Paul Laurence Dunbar's poetry, Ray Sapirstein-- Paul Laurence Dunbar and the spirituals, Lauri Ramey-- 'Greatest is the song': Blues as poetic communication in early Langston Hughes and Sterling A. Brown, John Edgar Tidwell-- 'A real, solid, sane, racial something': Langston Hughes's Blues poetry, David Chinitz. Part II Jazz: Its Spiritual Lyricism: The funk aesthetic in African-American poetry, Tony Bolden-- 'Go into the wilderness': The missionary impulse of Michael Harper's poetry, Joseph Brown. Part III Lyricism and the Sonic Aesthetic: Amiri Baraka: phenomenologist of jazz spirit, Christopher Winks-- Nathaniel Mackey's 'Song of the Andoumboulou': making different music, Scarlett Higgins-- Hearing a new musical instrument: Harryette Mullen's critical lyricism, Lisa Mansell. Part IV Transformational Lyricism: 'Taking it out!': Jayne Cortez's collaborations with the Firespitters, Renee M. Kingan-- Pops, pygmies, and Pentecostal fire: Sanders and Thomas's 'The Creator has a Master Plan', Michael Coyle-- References-- Index.
  • (source: Nielsen Book Data)
Linking a diverse body of writing to a black musical tradition, Black Music, Black Poetry offers readers a fuller appreciation of the diversity of approaches to reading black American poetry. Readers will find the poetry of familiar figures such as Paul Laurence Dunbar and Langston Hughes and lesser known writers like James Emanuel analyzed in essays that highlight the relationship of their poetry to musical genres ranging from spirituals to contemporary jazz. The collection's point of departure is the premise that black music stands as the strongest repository and representation of black American consciousness, and that black poetry, by drawing on such music as a model, reflects the influence of an historical and enduring black aesthetic. The contributors take up the issues of black cultural authenticity, musical imitation and performance, and the influence of black music on poetic practice as they relate to the work of Dunbar, Hughes, Emanuel, Amiri Baraka, Meta DuEwa Jones, Michael Harper, and Jayne Cortez. Taken together, these essays offer a rich examination of black poetry's prosody and its ties to the rhythms and forms of black music.
(source: Nielsen Book Data)
  • Contents: Foreword-- Introduction-- Part I Authenticity in Black Music and Poetry: Original rags: African-American secular music and the cultural legacy of Paul Laurence Dunbar's poetry, Ray Sapirstein-- Paul Laurence Dunbar and the spirituals, Lauri Ramey-- 'Greatest is the song': Blues as poetic communication in early Langston Hughes and Sterling A. Brown, John Edgar Tidwell-- 'A real, solid, sane, racial something': Langston Hughes's Blues poetry, David Chinitz. Part II Jazz: Its Spiritual Lyricism: The funk aesthetic in African-American poetry, Tony Bolden-- 'Go into the wilderness': The missionary impulse of Michael Harper's poetry, Joseph Brown. Part III Lyricism and the Sonic Aesthetic: Amiri Baraka: phenomenologist of jazz spirit, Christopher Winks-- Nathaniel Mackey's 'Song of the Andoumboulou': making different music, Scarlett Higgins-- Hearing a new musical instrument: Harryette Mullen's critical lyricism, Lisa Mansell. Part IV Transformational Lyricism: 'Taking it out!': Jayne Cortez's collaborations with the Firespitters, Renee M. Kingan-- Pops, pygmies, and Pentecostal fire: Sanders and Thomas's 'The Creator has a Master Plan', Michael Coyle-- References-- Index.
  • (source: Nielsen Book Data)
Linking a diverse body of writing to a black musical tradition, Black Music, Black Poetry offers readers a fuller appreciation of the diversity of approaches to reading black American poetry. Readers will find the poetry of familiar figures such as Paul Laurence Dunbar and Langston Hughes and lesser known writers like James Emanuel analyzed in essays that highlight the relationship of their poetry to musical genres ranging from spirituals to contemporary jazz. The collection's point of departure is the premise that black music stands as the strongest repository and representation of black American consciousness, and that black poetry, by drawing on such music as a model, reflects the influence of an historical and enduring black aesthetic. The contributors take up the issues of black cultural authenticity, musical imitation and performance, and the influence of black music on poetic practice as they relate to the work of Dunbar, Hughes, Emanuel, Amiri Baraka, Meta DuEwa Jones, Michael Harper, and Jayne Cortez. Taken together, these essays offer a rich examination of black poetry's prosody and its ties to the rhythms and forms of black music.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PS310 .J39 B57 2014 Unknown
Book
399 p. : ill. (chiefly col.) ; 29 cm
Released to commemorate the 75th anniversary of the coolest and best- known label in jazz, this book celebrates over seven decades of extraordinary music from a company that has stayed true to its founders commitment to Uncompromising Expression. Tracing the evolution of jazz from the boogie- woogie and swing of the 1930s, through bebop, funk and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The photography of co-founder Francis Wolff and the cover designs of Reid Miles were integral to the labels success and this highly illustrated, landmark publication featuring the very best photographs, covers, and ephemera from the archives, including never-before-published material commemorates Blue Notes momentous contribution to jazz, to art and design as well as to revolutionizing the music business.
(source: Nielsen Book Data)
Released to commemorate the 75th anniversary of the coolest and best- known label in jazz, this book celebrates over seven decades of extraordinary music from a company that has stayed true to its founders commitment to Uncompromising Expression. Tracing the evolution of jazz from the boogie- woogie and swing of the 1930s, through bebop, funk and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The photography of co-founder Francis Wolff and the cover designs of Reid Miles were integral to the labels success and this highly illustrated, landmark publication featuring the very best photographs, covers, and ephemera from the archives, including never-before-published material commemorates Blue Notes momentous contribution to jazz, to art and design as well as to revolutionizing the music business.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3506 .H38 2014 In-library use In process
Book
xvi, 387 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
  • From Minter City to Madison Street (1924-1960). Money, marbles, and chalk ; Chicago bound ; Chess moves ; Headhunters and wolfmen ; The world's in a tangle ; Blues leave me alone
  • Rising from the ashes (1970-1989). Walkin' by myself ; Shelter from the storm ; Gold tailed bird ; Feelin' good ; Out on the road
  • Fathers and sons (1989-1997). Changing lanes ; That's all right ; Long gone
  • Coda. The last time.
A member of Muddy Waters' legendary late 1940s-1950s band, Jimmy Rogers pioneered a blues guitar style that made him one of the most revered sidemen of all time. Rogers also had a significant if star-crossed career as a singer and solo artist for Chess Records, releasing the classic singles "That's All Right" and "Walking By Myself." In Blues All Day Long, Wayne Everett Goins mines seventy-five hours of interviews with Rogers' family, collaborators, and peers to follow a life spent in the blues. Goins' account takes Rogers from recording Chess classics and barnstorming across the South to a late-in-life renaissance that included new music, entry into the Blues Hall of Fame, and high profile tours with Eric Clapton and the Rolling Stones. Informed and definitive, Blues All Day Long fills a gap in twentieth century music history with the story of one of the blues' eminent figures and one of the genre's seminal bands.
(source: Nielsen Book Data)
  • From Minter City to Madison Street (1924-1960). Money, marbles, and chalk ; Chicago bound ; Chess moves ; Headhunters and wolfmen ; The world's in a tangle ; Blues leave me alone
  • Rising from the ashes (1970-1989). Walkin' by myself ; Shelter from the storm ; Gold tailed bird ; Feelin' good ; Out on the road
  • Fathers and sons (1989-1997). Changing lanes ; That's all right ; Long gone
  • Coda. The last time.
A member of Muddy Waters' legendary late 1940s-1950s band, Jimmy Rogers pioneered a blues guitar style that made him one of the most revered sidemen of all time. Rogers also had a significant if star-crossed career as a singer and solo artist for Chess Records, releasing the classic singles "That's All Right" and "Walking By Myself." In Blues All Day Long, Wayne Everett Goins mines seventy-five hours of interviews with Rogers' family, collaborators, and peers to follow a life spent in the blues. Goins' account takes Rogers from recording Chess classics and barnstorming across the South to a late-in-life renaissance that included new music, entry into the Blues Hall of Fame, and high profile tours with Eric Clapton and the Rolling Stones. Informed and definitive, Blues All Day Long fills a gap in twentieth century music history with the story of one of the blues' eminent figures and one of the genre's seminal bands.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML419 .R613 G65 2014 Unknown
Book
216 p. : ill. ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML419 .L52 A3 2014 Available

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