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1. Listening to jazz [2016]

Book
xxiv, 374 pages : illustrations (some color) ; 28 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3506 .B435 2016 Unavailable On order Request
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
Stacks Request
ML3509 .G38 K377 2015 Available
Book
72 pages : illustrations (some color) ; 22 x 30 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
(no call number) Unavailable In process Request
Book
52 pages : illustrations ; 21 cm.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference
ML419 .S326 B54 2015 In-library use In process
Book
ix, 229 pages : illustrations ; 23 cm
  • Prelude
  • Memphis soil
  • Out West, and then East
  • Marquee trajectory
  • The wilderness years
  • The Munich connection
  • Dialoguing with master Higgins
  • New millennial dance steps
  • Postlude : horizons on the run.
  • Prelude
  • Memphis soil
  • Out West, and then East
  • Marquee trajectory
  • The wilderness years
  • The Munich connection
  • Dialoguing with master Higgins
  • New millennial dance steps
  • Postlude : horizons on the run.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML419 .L58 W66 2015 Unknown
Book
32 pages : illustrations ; 21 cm.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference
ML419 .F624 B54 2015 In-library use
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
ix, 265 pages : illustrations ; 23 cm
  • Apostles of sound
  • The self-representation and spiritual teachings of John Coltrane the Saint
  • Jimbo's Bop City
  • The Yardbird Club and the history of African American jazz entrepreneurship in San Francisco
  • The Dr. Huey P. Newton experience
  • The Yardbird and One Mind Temple and new church movements in the 1960s and '70s
  • The Alice Coltrane experience
  • The African Orthodox Church
  • Anatomy of a miracle
  • The Oscar Grant movement
  • The John Coltrane University of Arts and Social Justice
  • The battle against environmental racism
  • The ordination of Pastor Wanika Kristi King-Stephens
  • The apostles of sound Occupy SF
  • Answering the prophetic call.
The John Coltrane Church began in 1965, when Franzo and Marina King attended a performance of the John Coltrane Quartet at San Francisco's Jazz Workshop and saw a vision of the Holy Ghost as Coltrane took the bandstand. Celebrating the spirituality of the late jazz innovator and his music, the storefront church emerged during the demise of black-owned jazz clubs in San Francisco, and at a time of growing disillusionment with counter-culture spirituality following the 1978 Jonestown tragedy. The ideology of the church was refined through alliances with the Black Panther Party, Alice Coltrane, the African Orthodox Church and the Nation of Islam. For 50 years, the church has - in the name of its patron saint, John Coltrane - effectively fought redevelopment, environmental racism, police brutality, mortgage foreclosures, religious intolerance, gender disparity and the corporatization of jazz. This critical history is the first book-length treatment of the evolution, beliefs and practices of an extraordinary African-American church and community institution.
(source: Nielsen Book Data)
  • Apostles of sound
  • The self-representation and spiritual teachings of John Coltrane the Saint
  • Jimbo's Bop City
  • The Yardbird Club and the history of African American jazz entrepreneurship in San Francisco
  • The Dr. Huey P. Newton experience
  • The Yardbird and One Mind Temple and new church movements in the 1960s and '70s
  • The Alice Coltrane experience
  • The African Orthodox Church
  • Anatomy of a miracle
  • The Oscar Grant movement
  • The John Coltrane University of Arts and Social Justice
  • The battle against environmental racism
  • The ordination of Pastor Wanika Kristi King-Stephens
  • The apostles of sound Occupy SF
  • Answering the prophetic call.
The John Coltrane Church began in 1965, when Franzo and Marina King attended a performance of the John Coltrane Quartet at San Francisco's Jazz Workshop and saw a vision of the Holy Ghost as Coltrane took the bandstand. Celebrating the spirituality of the late jazz innovator and his music, the storefront church emerged during the demise of black-owned jazz clubs in San Francisco, and at a time of growing disillusionment with counter-culture spirituality following the 1978 Jonestown tragedy. The ideology of the church was refined through alliances with the Black Panther Party, Alice Coltrane, the African Orthodox Church and the Nation of Islam. For 50 years, the church has - in the name of its patron saint, John Coltrane - effectively fought redevelopment, environmental racism, police brutality, mortgage foreclosures, religious intolerance, gender disparity and the corporatization of jazz. This critical history is the first book-length treatment of the evolution, beliefs and practices of an extraordinary African-American church and community institution.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3921.8 .J39 B34 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
24 pages : illustrations ; 21 cm.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference
ML419 .D695 B54 2015 In-library use In process
Book
44 pages : illustrations ; 21 cm.
  • Discography of Finney's Jazzmen
  • Discography of Kurt Jensen
  • Discography of Arosia / compiler: Erwin Elvers
  • Discography of Finn Burich.
  • Discography of Finney's Jazzmen
  • Discography of Kurt Jensen
  • Discography of Arosia / compiler: Erwin Elvers
  • Discography of Finn Burich.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference
ML156.4 .J3 D57 1999 V.3 In-library use In process
Book
32 pages : illustrations ; 21 cm.
  • Discography of Dr. Jazz Companie Lübeck / compiled by Gerard Bielderman, Günter Gehrmann, Günter Berndt
  • Red Hot Hottentots Discography / compiled by Erwin Elvers
  • Jazz O'Maniacs Discography / compiled by Aart van de Munt
  • Discography of the White Eag[le] New Orleans Band / compiled by Gerard Bielderman &, Erwin Elvers.
  • Discography of Dr. Jazz Companie Lübeck / compiled by Gerard Bielderman, Günter Gehrmann, Günter Berndt
  • Red Hot Hottentots Discography / compiled by Erwin Elvers
  • Jazz O'Maniacs Discography / compiled by Aart van de Munt
  • Discography of the White Eag[le] New Orleans Band / compiled by Gerard Bielderman &, Erwin Elvers.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference
ML156.4 .J3 E478 2015 In-library use In process
Book
213 pages ; 19 cm.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML156.4 .J3 J33 2015 Unknown Reference
Book
xii, 383 pages, 49 unnumbered pages of plates : illustrations ; 23 cm.
  • Prelude. Keeping the core creative spirit-soul
  • Theory : aesthetic theories, teaching, and approaches. Ethnomusicologizing and cultural relevancy ; Ethnomusicology studies in music culture ; Popular music culture : how to teach and reach within popular music ; (Black) music matters ; Notes from Cuba : November 2012-February 2013 ; The "I" theory
  • History : backbones and songs. A progressive view of American popular music history, 1948-2014 ; American mavericks : interviews ; Harlem renaissance 1920-1935 : artistry, aesthetics, politics and popular culture. Interludes ; Letters ; "You really should give me some money"
  • Culture : new standards, cultural critique. Wake up! What time is it really? Who turns it up, down, and back? Values on the cultural dial ; Does our music still bring the good news of the day? ; On the crisis in the popular arts and society : steps ahead ; George Lewis review ; Don't use the "J-word" : jazz and its connections to culture and meaning ; Culture reflections of a citizen: can somebody wake me up? ; Healing and escape from Zombieland ; Critical culture concerns today ; The songs we need to be hearing again : music culture and a musician's credo to citizenry
  • Postlude.
  • Prelude. Keeping the core creative spirit-soul
  • Theory : aesthetic theories, teaching, and approaches. Ethnomusicologizing and cultural relevancy ; Ethnomusicology studies in music culture ; Popular music culture : how to teach and reach within popular music ; (Black) music matters ; Notes from Cuba : November 2012-February 2013 ; The "I" theory
  • History : backbones and songs. A progressive view of American popular music history, 1948-2014 ; American mavericks : interviews ; Harlem renaissance 1920-1935 : artistry, aesthetics, politics and popular culture. Interludes ; Letters ; "You really should give me some money"
  • Culture : new standards, cultural critique. Wake up! What time is it really? Who turns it up, down, and back? Values on the cultural dial ; Does our music still bring the good news of the day? ; On the crisis in the popular arts and society : steps ahead ; George Lewis review ; Don't use the "J-word" : jazz and its connections to culture and meaning ; Culture reflections of a citizen: can somebody wake me up? ; Healing and escape from Zombieland ; Critical culture concerns today ; The songs we need to be hearing again : music culture and a musician's credo to citizenry
  • Postlude.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3479 .B366 2015 Unavailable On order Request
Book
xiv, 158 pages : illustrations (some color) ; 23 cm.
The Brazilian multi-instrumentalist, composer, and bandleader Hermeto Pascoal produces music that is unmistakably individual, drawing on a kaleidoscopic variety of influences, including contemporary jazz and the popular musical styles of the Northeast of Brazil, such cocos, emboladas and repentes, as well as baiao, frevo and choro, with results verging on contemporary art music. His complex compositions are highly demanding of the performer, with use of dissonant harmonies, polyrhythms, unconventional timbres, atonal improvisations, aleatory techniques and more. He became known to American musicians and music-lovers through a brief period working with the late Miles Davis, and through a remarkable series of recordings for Warner and the Brazilian label Som Da Gente. Lula Costa-Silva Neto's book is the first publication in English focusing on the work of this musical genius, looking at music produced between 1981 and 1993. During this period Hermeto worked with a group of five musicians in an ensemble that was called "Hermeto Pascoal e Grupo". Working with Hermeto were Itibere Luis Zwarg (electric bass, tuba and bombardon), Jovino Santos Neto (piano, keyboard, flutes), Antonio Luis Santana ("Pernambuco") - (percussion), Carlos Daltro Malta (saxophones, flutes, piccolo) and Marcio Villa Bahia (drum kit and percussion). Costa-Silva Neto explores the sources of Hermeto's experimental music, their development and characteristics, and describes how these were transformed into a musical system. He reconstructs the processes of creation and music-making by the group, with analysis of a selection of the ensemble's pieces, and demonstrates the innovative role played by Hermeto Pascoal in the history of popular music in Brazil, fusing regional, national, and international l elements to create a universal music which continues to affirm it roots.
(source: Nielsen Book Data)
The Brazilian multi-instrumentalist, composer, and bandleader Hermeto Pascoal produces music that is unmistakably individual, drawing on a kaleidoscopic variety of influences, including contemporary jazz and the popular musical styles of the Northeast of Brazil, such cocos, emboladas and repentes, as well as baiao, frevo and choro, with results verging on contemporary art music. His complex compositions are highly demanding of the performer, with use of dissonant harmonies, polyrhythms, unconventional timbres, atonal improvisations, aleatory techniques and more. He became known to American musicians and music-lovers through a brief period working with the late Miles Davis, and through a remarkable series of recordings for Warner and the Brazilian label Som Da Gente. Lula Costa-Silva Neto's book is the first publication in English focusing on the work of this musical genius, looking at music produced between 1981 and 1993. During this period Hermeto worked with a group of five musicians in an ensemble that was called "Hermeto Pascoal e Grupo". Working with Hermeto were Itibere Luis Zwarg (electric bass, tuba and bombardon), Jovino Santos Neto (piano, keyboard, flutes), Antonio Luis Santana ("Pernambuco") - (percussion), Carlos Daltro Malta (saxophones, flutes, piccolo) and Marcio Villa Bahia (drum kit and percussion). Costa-Silva Neto explores the sources of Hermeto's experimental music, their development and characteristics, and describes how these were transformed into a musical system. He reconstructs the processes of creation and music-making by the group, with analysis of a selection of the ensemble's pieces, and demonstrates the innovative role played by Hermeto Pascoal in the history of popular music in Brazil, fusing regional, national, and international l elements to create a universal music which continues to affirm it roots.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .P1776 N4813 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
329 pages ; 22 cm
Antony and Cleopatra. Helen of Troy and Paris. Romeo and Juliet. And now... Henry and Flora. For centuries Love and Death have chosen their players. They have set the rules, rolled the dice, and kept close, ready to influence, angling for supremacy. And Death has always won. Always. Could there ever be one time, one place, one pair whose love would truly tip the balance? Meet Flora Saudade, an African-American girl who dreams of becoming the next Amelia Earhart by day and sings in the smoky jazz clubs of Seattle by night. Meet Henry Bishop, born a few blocks and a million worlds away, a white boy with his future assured -- a wealthy adoptive family in the midst of the Great Depression, a college scholarship, and all the opportunities in the world seemingly available to him. The players have been chosen. The dice have been rolled. But when human beings make moves of their own, what happens next is anyone's guess.
Antony and Cleopatra. Helen of Troy and Paris. Romeo and Juliet. And now... Henry and Flora. For centuries Love and Death have chosen their players. They have set the rules, rolled the dice, and kept close, ready to influence, angling for supremacy. And Death has always won. Always. Could there ever be one time, one place, one pair whose love would truly tip the balance? Meet Flora Saudade, an African-American girl who dreams of becoming the next Amelia Earhart by day and sings in the smoky jazz clubs of Seattle by night. Meet Henry Bishop, born a few blocks and a million worlds away, a white boy with his future assured -- a wealthy adoptive family in the midst of the Great Depression, a college scholarship, and all the opportunities in the world seemingly available to him. The players have been chosen. The dice have been rolled. But when human beings make moves of their own, what happens next is anyone's guess.
Education Library (Cubberley)
Status of items at Education Library (Cubberley)
Education Library (Cubberley) Status
Curriculum Collection
PS3602 .R62345 G36 2015 Unknown
Book
xvi, 537 pages ; 24 cm
Hot Music, Ragmentation, and the Bluing of American Literature is a multidisciplinary exploration of the ways that African American ohoto musicuminstrelsy, ragtime, jazz, and especially bluesuemerged into the American cultural mainstream in the nineteenth century and ultii??mately dominated American music and literature from 1920 to 1929. Exploring the deep and enduring relationship between music and literature, Hot Music, Ragmentation, and the Bluing of American Literature examines the diverse ways in which African American ohoto music ini??fluenced American cultureuparticularly literatureuin early twentieth century America. Steven C. Tracy provides a history of the fusion of Afrii??can and European elements that formed African American ohoto music, and considers how terms like ragtime, jazz, and blues developed their own particular meanings for American music and society. He draws from the fields of literature, literary criticism, cultural anthropology, American studies, and folklore to demonstrate how blues as a musical and poetic form has been a critical influence on American literature. Hot Music, Ragmentation, and the Bluing of American Literature begins by highlighting instances in which American writers, including Herman Melville, Stephen Crane, and Gertrude Stein, use African American culi??ture and music in their work, and then characterizes the social context of the Jazz Age, discussing how African American music reflected the wild abandon of the time. Tracy focuses on how a variety of schools of early twentieth century writers, from modernists to members of the Harlem Renaissance to dramatists and more, used their connections with ohoto music to give their own work meaning. TracyAEs extensive and detailed understanding of how African American ohoto music operates has produced a fresh and original perspective on its influence on mainstream American literature and culture. An experienced blues musician himself, Tracy draws on his performance background to offer an added dimension to his analysis. Where ani??other blues scholar might only analyse blues language, Tracy shows how the language is actually performed. Hot Music, Ragmentation, and the Bluing of American Literature is the first book to offer such a refreshingly broad interdisciplinary vision of the influence of African American ohoto music on American literature. It is an essential addition to the library of serious scholars of American and African American literature and culture and blues aficionados alike.
(source: Nielsen Book Data)
Hot Music, Ragmentation, and the Bluing of American Literature is a multidisciplinary exploration of the ways that African American ohoto musicuminstrelsy, ragtime, jazz, and especially bluesuemerged into the American cultural mainstream in the nineteenth century and ultii??mately dominated American music and literature from 1920 to 1929. Exploring the deep and enduring relationship between music and literature, Hot Music, Ragmentation, and the Bluing of American Literature examines the diverse ways in which African American ohoto music ini??fluenced American cultureuparticularly literatureuin early twentieth century America. Steven C. Tracy provides a history of the fusion of Afrii??can and European elements that formed African American ohoto music, and considers how terms like ragtime, jazz, and blues developed their own particular meanings for American music and society. He draws from the fields of literature, literary criticism, cultural anthropology, American studies, and folklore to demonstrate how blues as a musical and poetic form has been a critical influence on American literature. Hot Music, Ragmentation, and the Bluing of American Literature begins by highlighting instances in which American writers, including Herman Melville, Stephen Crane, and Gertrude Stein, use African American culi??ture and music in their work, and then characterizes the social context of the Jazz Age, discussing how African American music reflected the wild abandon of the time. Tracy focuses on how a variety of schools of early twentieth century writers, from modernists to members of the Harlem Renaissance to dramatists and more, used their connections with ohoto music to give their own work meaning. TracyAEs extensive and detailed understanding of how African American ohoto music operates has produced a fresh and original perspective on its influence on mainstream American literature and culture. An experienced blues musician himself, Tracy draws on his performance background to offer an added dimension to his analysis. Where ani??other blues scholar might only analyse blues language, Tracy shows how the language is actually performed. Hot Music, Ragmentation, and the Bluing of American Literature is the first book to offer such a refreshingly broad interdisciplinary vision of the influence of African American ohoto music on American literature. It is an essential addition to the library of serious scholars of American and African American literature and culture and blues aficionados alike.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
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PS153 .N5 T67 2015 Unknown

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