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Book
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
Book
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
Book
1 online resource.
EBSCOhost Access limited to 1 user
Book
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
Book
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
Book
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
Book
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
Book
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
Book
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
Book
1 online resource (x, 307 pages, 8 unnumbered pages of plates).
EBSCOhost Access limited to 1 user
Book
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
Book
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
Book
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
Book
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
Book
xi, 176 pages : illustrations ; 23 cm.
  • 1. Introduction 2. Len Lye - The Sensual World3. Gjon Mili - The Material Ghost4. Jazz 625 - Inform-Educate-EntertainConclusion.
  • (source: Nielsen Book Data)9781784533441 20170123
This book provides a timely analysis of the relationship between jazz and recording and broadcast technologies in the early twentieth century. Jazz histories have traditionally privileged qualities such as authenticity, naturalness and spontaneity, but to do so overlooks jazz's status as a modernist, mechanised art form that evolved alongside the moving image and visual cultures. Jazz as Visual Language shows that the moving image is crucial to our understanding of what the materiality of jazz really is. Focusing on Len Lye's direct animation, Gjon Mili's experimental footage of musicians performing and the BBC's Jazz 625 series, this book places emphasis on film and television that conveys the 'sound of surprise' through formal innovation, rather than narrative structure. Nicolas Pillai seeks to refine a critical vocabulary of jazz and visual culture whilst arguing that jazz was never just a new sound; it was also a new way of seeing the world.
(source: Nielsen Book Data)9781784533441 20170123
Green Library
Book
xxxvi, 199 pages : illustrations ; 24 cm
  • Preface Introduction to the Second Edition Selected Bibliography for the Second Edition Introduction: Follow the Second Line 1. The Haiti-New Orleans Vodou Connection: Zora Neale Hurston as Initiate Observer 2. Mardi Gras Indians and Second Lines, Sequin Artists and Rara Bands: Street Festivals and Performances in New Orleans and Haiti Interlude: The Healing Arts of African Diasporic Religion 3. In Rhythm with the Spirit: New Orleans Jazz Funerals and the African Diaspora Epilogue. A Jazz Funeral for "A City That Care Forgot": The New Orleans Diaspora after Hurricane Katrina Notes Bibliography Index.
  • (source: Nielsen Book Data)9780253024947 20170130
An examination of the musical, religious, and political landscape of black New Orleans before and after Hurricane Katrina, this revised edition looks at how these factors play out in a new millennium of global apartheid. Richard Brent Turner explores the history and contemporary significance of second lines-the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals in black New Orleans's jazz street parades. Here music and religion interplay, and Turner's study reveals how these identities and traditions from Haiti and West and Central Africa are reinterpreted. He also describes how second line participants create their own social space and become proficient in the arts of political disguise, resistance, and performance.
(source: Nielsen Book Data)9780253024947 20170130
Music Library
Book
xi, 311 pages : illustrations ; 24 cm.
  • Jazz occupies Germany
  • The aural shock of modernity
  • Writing symphonies in jazz
  • Syncopating the mass ornament
  • Bridging the great divides
  • Singing the Harlem Renaissance
  • Jazz's silence.
The Jazz Republic examines jazz music and the jazz artists who shaped Germany's exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany's first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz's status between paradigms of high and low culture. By looking at German translations of Langston Hughes's poetry, as well as Theodor W. Adorno's controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere "symbol" of Weimar's modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way.
(source: Nielsen Book Data)9780472073405 20170710
SAL3 (off-campus storage)
Book
xiii, 195 pages : illustrations ; 24 cm.
  • Part 1: Becoming American 1. Jewish Tin Pan Alley Composers and Musical Pluralism 2. Black-Jewish Integration in the Jazz World from the Swing Era to the 1950s 3. "Listening for the Black Sound": Jews in the Jazz Music Business Part 2: Becoming Black 4. "Every Time I Try to Play Black, It Comes Out Jewish": Jewish Jazz Musicians Cross the Color Line 5. "Matzo Balls-Ereenie": African American Jazz Versions of Jewish Songs Part 3: Becoming Jewish 6. Swinging Hava Nagila: "Jewish Jazz" and Jewish Identity.
  • (source: Nielsen Book Data)9781138195790 20161128
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.
(source: Nielsen Book Data)9781138195790 20161128
Green Library

19. Late arcade [2017]

Book
191 pages : illustration ; 21 cm.
Nathaniel Mackey's Late Arcade opens in Los Angeles. A musician known only as N. writes the first of a series of letters to the enigmatic Angel of Dust. N.'s jazz sextet, Molimo m Atet, has just rehearsed a new tune: the horn players read from The Egyptian Book of the Dead with lips clothespinned shut, while the rest of the band struts and saunters in a cosmic hymn to the sun god Ra. N. ends this breathless session by sending the Angel of Dust a cassette tape of their rehearsal. Over the next nine months, N.'s epistolary narration follows the musical goings-on of the ensemble. N. suffers from what he calls cowrie shell at- tacks oil spills, N.'s memory of his mother s melancholy musical Sundays which all becomes the source of fresh artistic invention. Here is the newest installment of the National Book Award-winner Nathaniel Mackey s From a Broken Bottle Traces of Perfume Still Emanate, the great American jazz novel of exquisite rhythmic lyricism.-- Page 4 of cover.
Green Library
Book
x, 257 pages : illustrations, maps ; 23 cm
  • Fragmented memories and activist archives
  • Influences, antecedents, early engagements
  • The jazz loft era
  • Freedom
  • Community
  • Space
  • Archive
  • Aftermaths and legacies.
The New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. Loft Jazz provides the first book-length study of this period, tracing its history amid a series of overlapping discourses surrounding collectivism, urban renewal, experimentalist aesthetics, underground archives, and the radical politics of self-determination.
(source: Nielsen Book Data)9780520285415 20170327
Music Library

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