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x, 253 pages ; 24 cm
Music Library
1 online resource (xxxii, 397 pages)
  • Part 1: Basics 1. Music Fundamentals 2. Jazz Rhythms 3. Harmonic Function 4. Four-Part Chords 5. Five-Part Chords 6. The II-V-I Progression 7. Modes 8. Chord-Scale Theory 9. The Blues 10. Improvisation Part 2: Intermediate 11. Voicing Formations 12. Keyboard and Jazz Chorale Textures 13. Idiomatic Jazz Progressions 14. Bebop 15. Bebop Blues 16. The Confirmation Changes 17. The Rhythm Changes 18. Pentatonics, Hexatonics, Octatonics 19. The Tristano Style of Improvisation Part 3: Advanced 20. Analyzing Jazz Lead Sheets 21. Phrase Models 22. Song Forms 23. Reharmonization Techniques 24. Post-Tonal Jazz: Atonality 25. Set Classes in Jazz 26. Twelve-Tone Techniques 27. Stylistic Crossovers: Developing a New Jazz Repertory.
  • (source: Nielsen Book Data)9781138235106 20171218
Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others.ã Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. Companion website coming soon! Until then, please visit the website for the first edition: http://www.routledgetextbooks.com/textbooks/9780415537612/.
(source: Nielsen Book Data)9781138235106 20171218
EBSCOhost Access limited to 1 user
222 pages : illustrations ; 24 cm.
  • Introduction. 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930) 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945) 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960) 4. The Electrification of the Bass: Behold the Illegitimate Cousin (1954-1970) 5. The Jazz Bass, Multi-Track Recording Technology and Fusion (1970s) 6. Jaco Pastorius: The Electric Jazz Bass Attains Respectability (1976-1985) 7. The Young Lions and the Technological Backlash (1980-1990) 8. Pro Tools, Computers and the Bass (1990-2005) 9. The Future of the Jazz Bassist (2005-2012) Conclusion.
  • (source: Nielsen Book Data)9781138236561 20171009
Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a `top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language, musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became to be incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.
(source: Nielsen Book Data)9781138236561 20171009
Music Library
viii, 316 pages : illustrations (some color) ; 24 x 28 cm
  • Introduction
  • Presenting the Thad Jones/Mel Lewis Orchestra
  • Mel Lewis and the Jazz Orchestra
  • The Vanguard Jazz Orchestra: sixteen as one
  • Thad
  • Mel
  • The music of Bob Brookmeyer
  • The music of Jim McNeely
  • Riding the bus: life on the road
  • Solo space: the small group within a big band
  • A legacy of composition
  • The 50th anniversary collection
  • The Village Vanguard
  • Just like on the records: the official discography
  • And the band
  • By the numbers.
Music Library
1 online resource.
EBSCOhost Access limited to 1 user
ix, 308 pages, 34 unnumbered pages of plates : illustrations ; 24 cm
  • Crazy little women
  • Everything's up to date in Kansas City
  • Now's the time
  • A beautiful friendship
  • The first year, March 17-19, 1978
  • Summertime
  • There's no business like show business
  • Sweet Georgia Brown
  • This could be the start of something big
  • Spring can really hang you up the most
  • Spring is here
  • The second year, March 23-25, 1979
  • All of me
  • Work song
  • Blues Melba
  • The more I see you
  • You and the night and the music
  • The third year, March 20-23, 1980
  • All the things you are
  • Swing is the thing
  • Confirmation
  • Come fly with me
  • Come Sunday
  • The fourth year, March 25-29, 1981
  • Stories to tell
  • The best is yet to come
  • Time after time
  • Dr. Jive
  • The fifth year, March 24-28, 1982
  • But not for me
  • At last
  • Close enough for love
  • I'm hip
  • I get a kick out of you
  • Guess who I saw today
  • All alone
  • The sixth year, March 23-27, 1983
  • Time and time again
  • The beat goes on
  • Teach me tonight
  • Tea for two
  • Straight no chaser
  • More than you know
  • Thanks for the boogie ride
  • Every time we say goodbye
  • I've got you under my skin
  • Let's call the whole thing off.
Even though the potential passage of the Equal Rights Amendment had cracked glass ceilings across the country, in 1978 jazz remained a boys' club. Two Kansas City women, Carol Comer and Dianne Gregg, challenged that inequitable standard. With the support of jazz luminaries Marian McPartland and Leonard Feather, inaugural performances by Betty Carter, Mary Lou Williams, an unprecedented All-Star band of women, Toshiko Akiyoshi's band, plus dozens of Kansas City musicians and volunteers, a casual conversation between two friends evolved into the annual Kansas City Women's Jazz Festival (WJF). But with success came controversy. Anxious to satisfy fans of all jazz styles, WJF alienated some purists. The inclusion of male sidemen brought on protests. The egos of established, seasoned players unexpectedly clashed with those of newcomers. Undaunted, Comer, Gregg, and WJF's ensemble of supporters continued the cause for eight years. They fought for equality not with speeches but with swing, without protest signs but with bebop. For the first book about this groundbreaking festival, Carolyn Glenn Brewer interviewed dozens of people and dove deeply into the archives. This book is an important testament to the ability of two friends to emphatically prove jazz genderless, thereby changing the course of jazz history.
(source: Nielsen Book Data)9781574416664 20170502
Music Library
52 pages : illustrations, portraits ; 21 cm.
  • Buffha Scheidegger discography / contributor Erwin Elvers
  • Jacky Milliet discography / contributor Erwin Elvers
  • The Dixie Kids discography / contributor Fidi Weber.
Archive of Recorded Sound
188 pages : illustrations ; 23 cm
Lilian Terry has lived music. As a performer, she has shared the stage with Ella Fitzgerald and Nina Simone. She cofounded the European Jazz Federation and pioneered jazz education in Italy. Her work as a director-producer of radio and television programs have spread the music by introducing countless people to its legendary performers. Drawing on Terry's long friendships and professional associations, Dizzy, Duke, Brother Ray, and Friends offers readers a rare opportunity to hear intimate conversations with some of the world's greatest musical figures. Dizzy Gillespie offers his thoughts on playing with ÷sanctified  rhythm and the all-important personal touch in performance. Duke Ellington discourses on jazz history and concludes an interview to sing a self-written ditty in Italian. Ray Charles gives candid thoughts on race and politics while taking charge of Terry's tape recorder. Abbey Lincoln, Max Roach, Horace Silver, Bill Evans "all provide Terry and her readers with unforgettable encounters. The result is a collection of profiles, some stretching over a decade or more, that reveal these performers in ways that illuminates their humanity and expands our appreciation of their art.
(source: Nielsen Book Data)9780252083167 20180115
Music Library
320 pages : illustrations ; 25 cm
  • Introduction: "I thought I heard" : the origins of jazz and the ends of jazz writing
  • Louis Armstrong and the syntax of scat
  • Towards a poetics of transcription: James Weldon Johnson's prefaces
  • The literary Ellington
  • The race for space: Sun Ra's poetry
  • Zoning Mary Lou Williams zoning
  • Let's call this: Henry Threadgill and the micropoetics of the song title
  • Notes on poetics regarding Mackey's song
  • Come out
  • Afterword: Hearing across media.
Hearing across media is the source of innovation in a uniquely African American sphere of art-making and performance, Brent Hayes Edwards writes. He explores this fertile interface through case studies in jazz literature both writings informed by music and the surprisingly large body of writing by jazz musicians themselves.
(source: Nielsen Book Data)9780674055438 20170807
Green Library
xxvii, 139 pages ; 24 cm.
  • Chapter 1 - Now He Sings, Now He Sobs - What Was? Chapter 2 - Bitches Brew and In A Silent Way Chapter 3 - Circle - An Avant-Garde Excursion Chapter 4 - Return to Forever - the Acoustic Period Chapter 5 - Return to Forever - Electric Chapter 6 - Playing With Friends Chapter 7 - Acoustic Variations Chapter 8 - Back to Electric Chapter 9 - So Many Things To Do Coda - The Corea Legacy.
  • (source: Nielsen Book Data)9781442244689 20171121
Chick Corea is a legendary jazz figure. He is one of the most prolific and influential contemporary pianists. He has received 61 Grammy nominations and won 23 of them, including 3 Latin Grammys. He has produced hundreds of releases in multiple genres over five decades, and he is one of the hardest-working musicians in the industry, with a yearly tour schedule of over 250 international concerts. He has authored multiple books and instructional works, and many regard him today as easily one of the most influential musicians of his generation. Experiencing Chick Corea looks at the full span of Corea's career, decade by decade, touching on the vast array of musical styles he engaged, from his initial work with Herbie Mann to his free explorations with Circle. It touches on his arguably most influential album Now He Sings, Now He Sobs, his involvement with Miles Davis' Bitches Brew and subsequent efforts as pioneer in the fusion scene with Return to Forever, his duo collaborations, classical outings, and his acoustic and trio work in the 1990s and beyond. Learning how to listen to Corea is itself a bit of a magic carpet ride, given the range of material he has created and the breadth and depth of that work. Experiencing Chick Corea introduces this American Icon to audiences beyond the domain of jazz fans already familiar with this work. Monika Herzig places Corea's creations in their historical and social contexts so any music lover can gain a fuller understanding of the incredible range of his work.
(source: Nielsen Book Data)9781442244689 20171121
Music Library
xxii, 189 pages ; 24 cm.
  • Timeline Introduction: Opening the Door... 1.Dancing in Your Head 2.Ramblin': The First Quartets 3.Sound Gravitations: The Trios 4.Sounds and Forms: The Path to Skies of America 5.Feet Music: From Joujouka to Prime Time 6.Round Trip: Late Quartets and Other Ensembles Intermezzo: Cherry and Charlie 7.Don Cherry: A Path to the Global Village 8.Charlie Haden: Ramblin' Boy Finale: Voices 9.In All Languages: Kudos, Ornette-isms, and Meditations Afterword: Ears ... Mind ... Heart Selected Reading Selected Listening Appendix A: Speaking with Sonny Rollins about Ornette Coleman Appendix B: Surfing the Jazz Net: Selected Web Resources.
  • (source: Nielsen Book Data)9781442249622 20171121
Saxophonist, violinist, trumpeter, composer, and bandleader Ornette Coleman, along with pianist Cecil Taylor, was one of the founding forces of the Free Jazz movement which took the music world by storm in the 1950s and 60s. His brilliance as an instrumentalist at first positioned him as a polarizing figure, but eventually brought him recognition as an American original and international jazz treasure. Jazz drummer Michael Stephans explores the personal challenges Coleman faced, the music he created from one decade to the next, and the incredibly positive attitude he maintained in the face of so much negativity throughout his life. Revealing how Coleman became an iconic, enigmatic figure not only in jazz, but in much of contemporary improvisational music, Stephans weaves together analysis of Coleman's recordings with interviews of those who knew Coleman best. Experiencing Ornette Coleman: A Listener's Companion encourages both jazz devotees and readers with little knowledge of the music to trace the inspirational journey of this now-seminal figure from his early years through the beginnings of the new millennium. Along the way, readers will learn about the music and motivations of the free jazz movement while experiencing an utterly human story of artistic genius and expression.
(source: Nielsen Book Data)9781442249622 20171121
Music Library
vii, 235 pages : illustrations ; 23 cm
Bix Beiderbecke was one of the first great legends of jazz. Among the most innovative cornet soloists of the 1920s and the first important white player, he invented the jazz ballad and pointed the way to "cool" jazz. But his recording career lasted just six years; he drank himself to death in 1931-at the age of twenty-eight. It was this meteoric rise and fall, combined with the searing originality of his playing and the mystery of his character-who was Bix? not even his friends or family seemed to know-that inspired subsequent generations to imitate him, worship him, and write about him. It also provoked Brendan Wolfe's Finding Bix a personal and often surprising attempt to connect music, history, and legend. A native of Beiderbecke's hometown of Davenport, Iowa, Wolfe grew up seeing Bix's iconic portrait on everything from posters to parking garages. He never heard his music, though, until cast to play a bit part in an Italian biopic filmed in Davenport. Then, after writing a newspaper review of a book about Beiderbecke, Wolfe unexpectedly received a letter from the late musician's nephew scolding him for getting a number of facts wrong. This is where Finding Bix begins: in Wolfe's good-faith attempt to get the facts right. What follows, though, is anything but straightforward, as Wolfe discovers Bix Beiderbecke to be at the heart of furious and ever-timely disputes over addiction, race and the origins of jazz, sex, and the influence of commerce on art. He also uncovers proof that the only newspaper interview Bix gave in his lifetime was a fraud, almost entirely plagiarized from several different sources. In fact, Wolfe comes to realize that the closer he seems to get to Bix, the more the legend retreats.
(source: Nielsen Book Data)9781609385064 20170424
Music Library
xvi, 302 pages : illustrations, music ; 26 cm
  • Part 1 1. Historical Context 2. An Introduction to Harmolodics 3. Transposition and Harmolodics 4. A Definition of Harmolodics: The Shape of Jazz to Come 5. An Argument for a Harmolodic Approach to Jazz Instruction Part 2 6. An Interview with Ornette Coleman, with Reflections 7. Post-Interview Reflections Part 3 8. Analysis and Transcription of Harmolodic Compositions I "Family Reunion" II "Giggin'" III "When Will the Blues Leave?" IV "Mob Job" V "Peace" VI "Theme from a Symphony, Variation 1" VII "Peace Warriors" VIII "Shades of Jazz" IX "Humpty Dumpty" X "Doughnut" 9. Full Transriptions of All Solos.
  • (source: Nielsen Book Data)9781138122925 20170418
Free Jazz, Harmolodics, and Ornette Coleman discusses Ornette Coleman's musical philosophy of "Harmolodics, " an improvisational system deeply inspired by the Civil Rights Movement. Falling under the guise of "free jazz, " Harmolodics can be difficult to understand, even for seasoned musicians and musicologists. Yet this book offers a clear and thorough approach to these complex methods, outlining Coleman's position as the developer of a logical-and historically significant-system of jazz improvisation. Included here are detailed musical analyses of improvisations, accompanied by full transcriptions. Intimate interviews between the author and Coleman explore the deeper issues at work in Harmolodics; issues of race, class, sex, and poverty. The principle of human equality quickly emerges as a central tenet of Coleman's life and music. Harmolodics is best understood when viewed in its essential form: both as a theory of improvisation and as an artistic expression of racial and human equality.
(source: Nielsen Book Data)9781138122925 20170418
Music Library
1 online resource.
  • Cover; Title Page; Copyright Page; Contents; List of Illustrations; Acknowledgments; Author's Note; List of Abbreviations; Prelude; Part 1. Sustineo Alas; 1. A Sense of Duty; 2. Director of Bands; 3. Shotgun Marriage; Part 2. Oranges and Lemons; 4. A Hunk o' Home; 5. The Far Shore; 6. Stormy Weather; Part 3. Per Ardua ad Astra; 7. Bomber Autobahn; 8. On the Continent; 9. Homeward Bound; Coda; Notes; Bibliography; Index
On December 15, 1944, Major Alton Glenn Miller, commanding officer of the Army Air Force Band (Special), boarded a plane in England bound for France with Lt. Col. Norman Francis Baessell. Somewhere over the English Channel, the plane vanished; no trace of the aircraft or any of its occupants was ever found. To this day, Miller, Baessell, and the pilot, John Robert Stuart Morgan, are classified as MIA. In Glenn Miller Declassified, Dennis M. Spring tells the story of musical legend, Glenn Miller, and his military career as commanding officer of the Army Air Force Band during World War II. After a brief assignment to the Army Specialist Corps, Miller was transferred to the Army Air Forces Training Command where he was assigned to build a network of radio production units, base bands, and other musical and entertainment activities. He was soon transferred to the UK to be a house band for the Allied Expeditionary Forces Programme (AEFP) broadcasts and to entertain allied service personnel in the European Theater at live concerts. Later that year, Miller and his band were to be transferred to Paris to expand the AEFP, but Miller never made it. Glenn Miller's disappearance resulted in a number of conspiracy theories, especially since much of the information surrounding his military service had been classified, restricted, or, in some cases, lost. Spragg has gained unprecedented access to his family's archives as well as military and government documents to lay such theories to rest and to prove the lasting legacy and importance of Glenn Miller's life, career and service to his country.
(source: Nielsen Book Data)9781612348957 20171002
EBSCOhost Access limited to 1 user
1 online resource (x, 307 pages, 8 unnumbered pages of plates).
EBSCOhost Access limited to 1 user
1 online resource.
  • Preface and Acknowledgments
  • Introduction: The origins and development of the pop music album from To Mother to The Voice
  • Louis Armstrong, Louis Armstrong meets Oscar Peterson
  • Fred Astaire, The Astaire story
  • Chet Baker, Let's get lost : the best of Chet Baker sings
  • Tony Bennett and Bill Evans, The Tony Bennett / Bill Evans album and Together again
  • Ray Charles, Modern sounds in country and western music
  • June Christy, Something cool
  • Rosemary Clooney, Blue rose
  • Nat King Cole, After midnight
  • Nat King Cole, St. Louis blues
  • Bing Crosby, Bing with a beat
  • Bing Crosby and Louis Armstrong, Bing & Satchmo
  • Doris Day, Day by day and day by night
  • Doris Day and Robert Goulet, Annie get your gun
  • Blossom Dearie, My gentleman friend
  • Matt Dennis, Matt Dennis plays and sings Matt Dennis ; Bobby Troup, Bobby Troup sings Johnny Mercer
  • Billy Eckstine, Billy's best!
  • Ella Fitzgerald, Lullabies of birdland
  • Ella Fitzgerald, Mack the knife : Ella in Berlin
  • Judy Garland, Judy at Carnegie Hall
  • Johnny Hartman, John Coltrane and Johnny Hartman
  • Dick Haynes, Rain or Shine
  • Billie Holiday, Lady in satin
  • Lena Horne, Lena Horne at the Waldorf Astoria
  • Barb Jungr, Every grain of sand : Barb Jungr sings Bob Dylan
  • Dave Lambert, Jon Hendricks, and Annie Ross, Sing a song of Basie ; Annie Ross, Sings a song with Mulligan!
  • Eydie Gormé and Steve Lawrence, Eydie and Steve sing the golden hits
  • Peggy Lee, Black coffee
  • Peggy Lee, The man I love
  • Marilyn Maye, Meet marvelous Marilyn Maye
  • Carmen McRae, As time goes by : live at the Dug
  • Anita O'Day, Anita O'Day sings the winners
  • Della Reese, Della Della cha cha cha
  • Jimmy Scott, The source and Lost and found
  • Bobby Short, Bobby Short
  • Nina Simone, Nina Simone and piano!
  • Frank Sinatra, In the wee small hours
  • Frank Sinatra, Songs for swingin' lovers!
  • Jo Stafford, Jo Stafford sings American folk songs and Jo Stafford sings songs of Scotland
  • Jo Stafford, I'll be seeing you (G.I. Jo)
  • Kay Starr, I cry by night
  • Maxine Sullivan, Memories of you : a tribute to Andy Razaf
  • Jack Teagarden, Think well of me
  • Tiny Tim, God bless Tiny Tim
  • Mel Tormé, Mel Tormé with Marty Paich Dek-Tette (Lulu's back in town)
  • Sarah Vaughan, Sara Vaughan
  • Sarah Vaughan, "Live" in Japan
  • Dinah Washington, Dinah Washington sings Fats Waller
  • Margaret Whiting, Margaret Whiting sings the Jerome Kern song book
  • Lee Wiley, Night in Manhattan
  • Cassandra Wilson, Belly of the sun
  • Discography.
EBSCOhost Access limited to 1 user
xiii, 138 pages ; 22 cm
This volume explores various kinds of love and the way music reflects them. It is about romantic love, ethnic pride and love, love and the media, and various other loves we have, especially love for popular culture. Throughout, special focus is given to the role jazz plays, as well as other forms of African and African American music, including hip hop, and, especially, the blues.
(source: Nielsen Book Data)9781443898744 20170508
Music Library
278 pages : illustrations ; 20 cm.
This definitive guide includes a unique chapter-by-chapter playlist for the reader. Jazz: A Beginner's Guide is a lively and highly accessible introduction to a global musical phenomenon. Award-winning music journalist and author Stuart Nicholson takes the reader on an entertaining journey from jazz's early stirrings in America's south through to the present day, when almost every country in the world has its own vibrant jazz scene. En route we meet a host of jazz heroes past and present, from Louis Armstrong, Benny Goodman and Miles Davis, to Keith Jarrett and Kamasi Washington. Each chapter is accompanied by a playlist designed to provide a stimulating and enjoyable entry point to what has been described as the most exciting art form of all.
(source: Nielsen Book Data)9781780749983 20170410
Music Library
x, 163 pages : illustrations ; 24 cm
  • * Acknowledgments * Permissions * Introduction: Nostalgia for the Lush Life * Chapter 1: Pie Eye's Juke Joint: Jazz and Its Interpretations * Chapter 2: The Porters and Waiters Club: Jazz, Movies, and Ogden * Chapter 3: Studio Jazz from Harlem to Acapulco * Chapter 4: The Blue Gardenia, Club Pigalle, and Daniel's: Charting the Alienation Effect in Film Noir * Chapter 5: From Elysium to Robards, from Real to Reel * Chapter 6: A Paris Bar where Miles Innovates * Chapter 7: "All the Very Gay Places": Ellington and Strayhorn Swing in Northern Michigan * Chapter 8: Cannoy's Club: "All Men Are Evil" * Chapter 9: "Jeep's Blues" and Jazz Today * Notes * Bibliography * Index.
  • (source: Nielsen Book Data)9781477312278 20170403
Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life. Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simultaneously transcending the film and reminding viewers of the world outside the movie theater. Jans B. Wager looks at the work of jazz composers such as Miles Davis, Duke Ellington and Billy Strayhorn, Chico Hamilton, and John Lewis as she analyzes films including Sweet Smell of Success, Elevator to the Gallows, Anatomy of a Murder, Odds Against Tomorrow, and considers the neonoir American Hustle. Wager demonstrates how the evolving role of jazz in film noir reflected cultural changes instigated by black social activism during and after World War II and altered Hollywood representations of race and music.
(source: Nielsen Book Data)9781477312278 20170403
Green Library
xviii, 364 pages : illustrations ; 23 cm.
  • Introduction (Bruce Johnson) Part I: Totalitarian Templates 1. Jazz and Fascism: Contradictions and Ambivalences in the Diffusion of Jazz Music under the Italian Fascist Dictatorship (1925-1935) (Marilisa Merolla) 2. Jazz in Moscow after Stalinism (Rudiger Ritter) Part II: In the Soviet Shadow 3. Four Spaces, Four Neanings: Narrating Jazz in Late Stalinist Estonia (Heli Reimann) 4. Jazz in Poland: Totalitarianism, Stalinism, Socialist Realism (Igor Pietraszewski) 5. Jazz in Czechoslovakia during the 1950s and 1960s (Wolf-Georg Zaddach) 6. Trouble with the Neighbours: Jazz, Geopolitics, and Finland's Totalitarian Shadow (Marcus O'Dair) Part III: Iberia - Spain 7. Performing the 'Anti-Spanish' Body: Jazz and Biopolitics in the Early Franco Regime (1939-1957) (Ivan Iglesias) 8. 'The Purest Essence of Jazz': The Appropriation of Blues in Spain during Franco's Dictatorship (Josep Pedro) Part IV: Iberia - Portugal 9. Jazz and the Portuguese Dictatorship before and after the Second World War: From Moral Panic to Suspicious Acceptance (Pedro Roxo) 10. A Kind of 'in-between': Jazz and Politics in Portugal (1958-1974) (Pedro Cravinho) Part V: Apartheid South Africa 11. A Climbing Vine through Concrete: Jazz in 1960s Apartheid South Africa (Jonathan Eato) 12. 'Fanfare for the warriors': Jazz, Education, and State Control in 1980s South Africa and After (Mark Duby) Part VI: To the East 13. From the 'Sultan' to the Persian Side: Jazz in Iran and Iranian Jazz since the 1920s (G. J. Breyley) 14. On the Marginality of Contemporary Jazz in China: The Case of Beijing (Adiel Portugali) 15. Afterword: Conclusions (Bruce Johnson).
  • (source: Nielsen Book Data)9781138887824 20161010
Jazz and Totalitarianism examines jazz in a range of regimes that in significant ways may be described as totalitarian, historically covering the period from the Franco regime in Spain beginning in the 1930s to present day Iran and China. The book presents an overview of the two central terms and their development since their contemporaneous appearance in cultural and historiographical discourses in the early twentieth century, comprising fifteen essays written by specialists on particular regimes situated in a wide variety of time periods and places. Interdisciplinary in nature, this compelling work will appeal to students from Music and Jazz Studies to Political Science, Sociology, and Cultural Theory.
(source: Nielsen Book Data)9781138887824 20161010
Music Library


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