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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 --- Social aspects --- History. --- History and criticism.
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The conventional history of jazz music in the United States begins in New Orleans, moves upstream along the Mississippi River to Chicago, then by rail into New York before exploding across the globe. But in fact the nation's capital has been a fertile city for jazz for a century. Some of the most important clubs in the jazz world have opened and closed their doors in Washington, DC; some of its greatest players and promoters were born there and continue to reside in the area; and some of the local institutions so critical to supporting this uniquely American form of music--including Congress and the Smithsonian Institution and the Library of Congress and the Historical Society of Washington, DC--remain vigorous advocates. Edited by noted historians Maurice Jackson and Blair Ruble, this book is a collection of original and fascinating stories about the DC jazz scene, from the cultural hotbed of Seventh and U Streets to the role of jazz in desegregating the city to the great Edward "Duke" Ellington to women in jazz to seminal contributions of the University of District of Columbia and Howard University. The book also includes three poems by Washington, DC poet E. Ethelbert Miller. A copublishing initiative with the Historical Society of Washington, DC, the book includes over thirty museum-quality photographs and a guide to resources for learning more about Washington, DC jazz.
Jazz musicians --- 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 --- Musicians --- History and criticism.
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Jazz --- Jazz musicians --- Musicians --- 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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Anti-Music examines the critical, literary, and political responses to African American jazz music in interwar Germany. During this time, jazz was the subject of overt political debate between left-wing and right-wing interests: for the left, jazz marked the death knell of authoritarian Prussian society; for the right, jazz was complicit as an American import threatening the chaos of modernization and mass politics. This conflict was resolved in the early 1930s as the left abandoned jazz in the face of Nazi victory, having come to see the music in collusion with the totalitarian culture industry. Mark Christian Thompson recounts the story of this intellectual trajectory and describes how jazz came to be associated with repressive, virulently racist fascism in Germany. By examining writings by Hermann Hesse, Bertolt Brecht, T.W. Adorno, and Klaus Mann, and archival photographs and images, Thompson brings together debates in German, African American, and jazz studies, and charts a new path for addressing antiblack racism in cultural criticism and theory.
Philosophy, German --- Jazz --- Blacks --- Negroes --- Ethnology --- 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. --- Race identity --- History --- Black persons --- Black people
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Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period, extending from the effects of financialization in the music industry to the structural upheaval created by urban redevelopment in major American cities. Dale Chapman draws from political and critical theory, oral history, and the public and trade press, making this a persuasive and compelling work for scholars across music, industry, and cultural studies.
Music-halls (Variety-theaters, cabarets, etc.) --- Sound recording industry --- 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 --- Audio recording industry --- Popular music record industry --- Record companies --- Record industry --- Record music industry --- Recorded music industry --- Recording industry --- Music trade --- Cabarets --- Café theater --- Concert gardens --- Concert rooms --- Concert saloons --- Variety shows (Theater) --- Variety-theaters --- Theaters --- Vaudeville --- History. --- Economic aspects. --- Social aspects. --- History and criticism --- Gordon, Dexter, --- Verve Records (Firm) --- Verve Music Group --- 1980s. --- contemporary jazz culture. --- corporate. --- critical theory. --- cultural studies. --- jazz lovers. --- jazz. --- major american cities. --- music industry. --- music lovers. --- music. --- neoclassical jazz. --- neoliberal capitalism. --- oral history. --- persuasive. --- philanthropic. --- political economy. --- political theory. --- public and trade press. --- scholars. --- social practice. --- social trends. --- wide ranging investigation.
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