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Blues (Music) --- History and criticism. --- Blues (Songs, etc.) --- Jive (Music) --- African Americans --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- English language --- Texts --- Dialects --- Germanic languages
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Throughout the 1960's and 1970's, folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the authentic roots of the blues. Now, Give My Poor Heart Ease puts front and center a searing selection of the artistically and emotionally rich voices from this invaluable documentary record. Illustrated with Ferris's photographs of the musicians and their communities and including a CD of original music and a DVD of original film, the book features more than twenty interviews....
Blues (Music) --- African Americans --- Blues musicians --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Blacks --- Blues (Songs, etc.) --- Jive (Music) --- Folk music --- Popular music --- Rhythm and blues music --- Washboard band music --- Musicians --- Music --- History and criticism. --- Black people
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Jazz --- Jazz. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- Music History & Criticism, Popular - Jazz, Rock, etc.
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Traditional jazz studies have tended to see jazz in purely musical terms, as a series of changes in rhythm, tonality, and harmony, or as a parade of great players. But jazz has also entered the cultural mix through its significant impact on novelists, filmmakers, dancers, painters, biographers, and photographers. Representing Jazz explores the "other" history of jazz created by these artists, a history that tells us as much about the meaning of the music as do the many books that narrate the lives of musicians or describe their recordings.Krin Gabbard has gathered essays by distinguished writers from a variety of fields. They provide engaging analyses of films such as Round Midnight, Bird, Mo’ Better Blues, Cabin in the Sky, and Jammin’ the Blues; the writings of Eudora Welty and Dorothy Baker; the careers of the great lindy hoppers of the 1930s and 1940s; Mura Dehn’s extraordinary documentary on jazz dance; the jazz photography of William Claxton; painters of the New York School; the traditions of jazz autobiography; and the art of "vocalese." The contributors to this volume assess the influence of extramusical sources on our knowledge of jazz and suggest that the living contexts of the music must be considered if a more sophisticated jazz scholarship is ever to evolve. Transcending the familiar patterns of jazz history and criticism, Representing Jazz looks at how the music actually has been heard and felt at different levels of American culture.With its companion anthology, Jazz Among the Discourses, this volume will enrich and transform the literature of jazz studies. Its provocative essays will interest both aficionados and potential jazz fans.Contributors. Karen Backstein, Leland H. Chambers, Robert P. Crease, Krin Gabbard, Frederick Garber, Barry K. Grant, Mona Hadler, Christopher Harlos, Michael Jarrett, Adam Knee, Arthur Knight, James Naremore
Jazz --- History and criticism --- Jazz. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- History and criticism. --- Analysis, appreciation.
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The critical role of Europe in the music, personalities, and analysis of jazz
Jazz --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- History and criticism.
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Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in Northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering.
Jazz --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- History and criticism. --- Political aspects --- History --- Italian influences.
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Jazz --- Music --- Production and direction. --- Social aspects. --- Music and society --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Third stream (Music) --- Washboard band music
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Jazz --- Jazz musicians --- Musiciens de jazz --- History and criticism --- Histoire et critique --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- Musicians --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- Jazz. --- Jazz musicians.
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"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. He 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
Music and race --- Race and music --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- Jazz --- History and criticism. --- Social aspects --- History --- Germany --- Civilization --- American influences. --- Race --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- United States
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As jazz enters its second century it is reasserting itself as dynamic and relevant. Boston Globe jazz writer and Emerson College professor Bill Beuttler reveals new ways in which jazz is engaging with society through the vivid biographies and music of Jason Moran, Vijay Iyer, Rudresh Mahanthappa, The Bad Plus, Miguel Zenón, Anat Cohen, Robert Glasper, and Esperanza Spalding. These musicians are freely incorporating other genres of music into jazz--from classical (both western and Indian) to popular (hip-hop, R&B, rock, bluegrass, klezmer, Brazilian choro)--and other art forms as well (literature, film, photography, and other visual arts). This new generation of jazz is increasingly more international and is becoming more open to women as instrumentalists and bandleaders. Contemporary jazz is reasserting itself as a force for social change, prompted by developments such as the Black Lives Matter, #MeToo movements, and the election of Donald Trump.
Jazz musicians. --- Jazz musicians --- Musicians --- music --- art --- jazz --- Jazz --- Social aspects --- History --- History and criticism. --- Accordion and piano music (Jazz) --- Clarinet and piano music (Jazz) --- Cornet and piano music (Jazz) --- Double bass and piano music (Jazz) --- Jazz duets --- Jazz ensembles --- Jazz music --- Jazz nonets --- Jazz octets --- Jazz quartets --- Jazz quintets --- Jazz septets --- Jazz sextets --- Jazz trios --- Jive (Music) --- Saxophone and piano music (Jazz) --- Vibraphone and piano music (Jazz) --- Wind instrument and piano music (Jazz) --- Xylophone and piano music (Jazz) --- African Americans --- Music --- Third stream (Music) --- Washboard band music --- 2000-2099
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