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The Contradictions of Jazz
In The Contradictions of Jazz, Paul Rinzler takes a new approach to jazz aesthetics and theory by exploring four pairs of opposites present in jazz: individualism and interconnectedness, assertion and openness, freedom and responsibility, and creativity and tradition. By themselves, these eight values speak volumes about the meaning of jazz and its significance. Understanding how these opposites coexist in jazz leads to an exploration of the connections linking jazz with the experiential and existential, which contrast with the connections between composition and science. Rinzler explains the various concepts, including either/or and dialectic thinking, and then examines the pairs of opposit...
Paul Whiteman
In a career that spanned 60 years, Paul Whiteman changed the landscape of American music, beginning with his million-selling recordings in the early 1920s of “Whispering,” “Japanese Sandman,” and “Three O’Clock in the Morning.” Whiteman would then introduce “symphonic jazz,” a powerful blend of the classical and jazz idioms that represented a whole new approach to modern American music, influencing generations of bandleaders and composers. While some hold that at the close of the Roaring Twenties Whiteman’s musical hegemony quickly waned, Don Rayno illustrates in this second volume of Paul Whiteman: Pioneer in American Music how much of a dominant figure Whiteman remained...
Jazz and Christian Freedom
Contemporary Western society has a strange relationship with freedom. Unbridled subjective liberty and narrow fundamentalism pull away from each other in mutual loathing while sociological forces seek to manipulate both sides. The church needs to recover and reconstruct a theology of freedom to navigate between the perils of both extremes and to avoid being manipulated by these forces. Just as biblical figures are taught through parables and metaphors, this book uses jazz improvisation as an analogy for Christian freedom. Just as jazz improvisation relies on successfully navigating constraints such as the history and traditions of jazz, jazz theory, and musical instruments, so Christian freedom also relies on constraints such as the biblical canon, church history, theology, and the church itself. Through understanding the freedom jazz musicians enjoy in making music together, we can better understand how Christian freedom might be enacted in daily life. If Western churches discover and enact Christian freedom in a meaningful way, the songs that they improvise will be as siren calls to people in chains.
What Is This Thing Called Jazz?
"Among the many books on the history of jazz. . . an implicit division of labor has solidified, whereby black artists play and invent while white writers provide the commentary. . . . Eric Porter's brilliant book seeks to trace the ways in which black jazz musicians have made verbal sense of their accomplishments, demonstrating the profound self-awareness of the artists themselves as they engaged in discourse about their enterprise."—Susan McClary, author of Conventional Wisdom: The Content of Musical Form "With What Is This Thing Called Jazz Eric Porter has given us an original portrait of black musicians as creators, thinkers and politically conscious individuals. This well-written, thor...
Encyclopedia of Music in the 20th Century
The Encyclopedia of Music in the 20th Century is an alphabetically arranged encyclopedia of all aspects of music in various parts of the world during the 20th century. It covers the major musical styles--concert music, jazz, pop, rock, etc., and such key genres as opera, orchestral music, be-bop, blues, country, etc. Articles on individuals provide biographical information on their life and works, and explore the contribution each has made in the field. Illustrated and fully cross-referenced, the Encyclopedia of Music in the 20th Century also provides Suggested Listening and Further Reading information. A good first point of reference for students, librarians, and music scholars--as well as for the general reader.
Annual Review of Jazz Studies 2: 1983
Features Thelonious Monk, McCoy Tyner, Count Basie, and John Coltrane.
Jazz Books in the 1990s
This annotated bibliography contains over 700 entries covering adult non-fiction books on jazz published from 1990 through 1999. Entries are organized by category, including biographies, history, individual instruments, essays and criticism, musicology, regional studies, discographies, and reference works. Three indexes—by title, author, and subject—are included.
Is Jazz Dead?
Is Jazz Dead? examines the state of jazz in America at the turn of the twenty-first century. Musicians themselves are returning to New Orleans, Swing, and Bebop styles, while the work of the '60s avant-garde and even '70s and '80s jazz-rock is roundly ignored. Meanwhile, global jazz musicians are creating new and exciting music that is just starting to be heard in the United States, offering a viable alternative to the rampant conservatism here. Stuart Nicholson's thought-provoking book offers an analysis of the American scene, how it came to be so stagnant, and what it can do to create a new level of creativity. This book is bound to be controversial among jazz purists and musicians; it will undoubtedly generate discussion about how jazz should grow now that it has become a recognized part of American musical history. Is Jazz Dead? dares to ask the question on all jazz fan's minds: Can jazz survive as a living medium? And, if so, how?
Born to Play
Ruby Braff's uncompromising standards, musical taste, and creative imagination informed his consummate artistry in creating music beautifully played. He achieved swiftly what few musicians accomplish in a lifetime by developing a unique and immediately recognizable style. Alth...
Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music
It is the contention of the editors and contributors of this volume that the work carried out by Gilles Deleuze, where rigorously applied, has the potential to cut through much of the intellectual sedimentation that has settled in the fields of music studies. Deleuze is a vigorous critic of the Western intellectual tradition, calling for a 'philosophy of difference', and, despite its ambitions, he is convinced that Western philosophy fails to truly grasp (or think) difference as such. It is argued that longstanding methods of conceptualizing music are vulnerable to Deleuze's critique. But, as Deleuze himself stresses, more important than merely critiquing established paradigms is developing ways to overcome them, and by using Deleuze's own concepts this collection aims to explore that possibility.
