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| Author | : Omi Osun Joni L. Jones |
| Publisher | : Black Performance and Cultural |
| Total Pages | : 0 |
| Release | : 2023-01-08 |
| Genre | : Literary Criticism |
| ISBN | : 9780814252079 |
The first full-length study of the theatrical jazz aesthetic, that draws on the jazz principles of ensemble--the break, the bridge, and the blue note.
| Author | : Smithsonian Institution Traveling Exhibition Service |
| Publisher | : Chronicle Books |
| Total Pages | : 156 |
| Release | : 1997-10 |
| Genre | : Art |
| ISBN | : 9780811817325 |
Produced by the Smithsonian, this spectacular compilation is the first to look at both art and literature inspired by jazz. SEEING JAZZ showcases the music's riotous liberating influence with over 100 beautiful images--paintings, photographs, sculpture, multimedia works, and textile art--inspired by the riffs and refrains of jazz. Over 100 color and b&w illustrations.
| Author | : |
| Publisher | : Greenwood |
| Total Pages | : 0 |
| Release | : 1990-07-18 |
| Genre | : Music |
| ISBN | : 0313262500 |
This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different kinds of biographical source material published in all languages from 1921 to the present, such as biographies, autobiographies, interview collections, musical treatises, bio-discographies, anthologies of newspaper articles, Master theses, and Ph.D. dissertations. With few exceptions, a work of at least 50 pages in length merits inclusion, providing it has a substantive biographical component or aids jazz research. The main section of the work is an alphabetical listing of sources on individual jazz artists and ensembles. Jazz artists, as defined by Carner, are those who have made their mark as jazz performers and who have led the jazz life, playing the clubs and joints, not the legitimate concert stage, Broadway, Las Vegas, or the like. Thus, musicians such as Ray Charles or Frank Sinatra, who have recorded and performed with jazz ensembles, do not qualify for inclusion. Each bonafide jazz musician is given a separate section with birth, death, and primary instrumentation provided. Biographical sources about the artist or ensemble follow. Each entry is annotated to differentiate it from another and to present basic data on the source's content, such as the inclusion of a discography, bibliography, music examples and transcriptions, footnotes, indexes, illustrations, filmographies, and glossaries. An invaluable tool for jazz researchers and historians, Jazz Performers will also appeal to jazz enthusiasts in general.
| Author | : David Glen Such |
| Publisher | : University of Iowa Press |
| Total Pages | : 228 |
| Release | : 1993 |
| Genre | : Music |
| ISBN | : 9781587292316 |
| Author | : Richard B. Miles |
| Publisher | : |
| Total Pages | : 616 |
| Release | : 2008 |
| Genre | : Music |
| ISBN | : |
Teaching Music through Performance in Jazz continues in the best tradition of the Teaching Music series, bringing together insights from top jazz educators and invaluable analysis of the best repertoire published for jazz ensembles of all skill levels. This book is the ideal tool for anyone seeking a deeper understanding of the preeminent music for jazz ensembles by seminal jazz composers. In addition, leading jazz educators and musicians contribute chapters on topics such as: "Why Teach Jazz?" by Wynton Marsalis; "A Multi-Cultural approach to Jazz Education" by Ronald Carter; "Rehearsal Techniques: A holistic approach integrating composition, imporovisation, theory, and cultural considerations in the rehearsal" by Ron McCurdy; "The rhythm section: The band within the band" by Reginald Thomas; and "Promoting a high school jazz band" by Ron Modell. In addition, this book includes Teacher Resource Guides to more than 65 of the top jazz charts, broken down into developing, intermediate, and advanced categories. Each Teacher Resource Guide includes vital information on the composer, the composition, historical background, technical requirements, stylistic considerations, musical elements, form and structure, listening suggestions, and additional references. Teaching Music through Performance in Jazz is an essential resource for jazz leaders at all levels and a major contribution to the jazz field. -- from dust jacket.
| Author | : Jimmy Carter |
| Publisher | : Farrar, Straus and Giroux |
| Total Pages | : 589 |
| Release | : 2010-09-20 |
| Genre | : Biography & Autobiography |
| ISBN | : 1429990651 |
The edited, annotated New York Times bestselling diary of President Jimmy Carter--filled with insights into his presidency, his relationships with friends and foes, and his lasting impact on issues that still preoccupy America and the world. Each day during his presidency, Jimmy Carter made several entries in a private diary, recording his thoughts, impressions, delights, and frustrations. He offered unvarnished assessments of cabinet members, congressmen, and foreign leaders; he narrated the progress of secret negotiations such as those that led to the Camp David Accords. When his four-year term came to an end in early 1981, the diary amounted to more than five thousand pages. But this extraordinary document has never been made public--until now. By carefully selecting the most illuminating and relevant entries, Carter has provided us with an astonishingly intimate view of his presidency. Day by day, we see his forceful advocacy for nuclear containment, sustainable energy, human rights, and peace in the Middle East. We witness his interactions with such complex personalities as Ted Kennedy, Henry Kissinger, Joe Biden, Anwar Sadat, and Menachem Begin. We get the inside story of his so-called "malaise speech," his bruising battle for the 1980 Democratic nomination, and the Iranian hostage crisis. Remarkably, we also get Carter's retrospective comments on these topics and more: thirty years after the fact, he has annotated the diary with his candid reflections on the people and events that shaped his presidency, and on the many lessons learned. Carter is now widely seen as one of the truly wise men of our time. Offering an unprecedented look at both the man and his tenure, White House Diary is a fascinating book that stands as a unique contribution to the history of the American presidency.
| Author | : Eric Porter |
| Publisher | : Univ of California Press |
| Total Pages | : 442 |
| Release | : 2002-01-31 |
| Genre | : Music |
| ISBN | : 9780520928404 |
Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.
| Author | : Vaughn A. Booker |
| Publisher | : NYU Press |
| Total Pages | : 340 |
| Release | : 2020-07-21 |
| Genre | : Social Science |
| ISBN | : 1479892327 |
Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.
| Author | : Chris Becker |
| Publisher | : |
| Total Pages | : 328 |
| Release | : 2015-11-11 |
| Genre | : |
| ISBN | : 9780692543603 |
Since the arrival of the 21st century, jazz has evolved into a truly cross-generational, multicultural musical art form that is assimilating an unprecedented array of musical styles and techniques. At the same time, the male-dominated paradigm that has defined the historical narrative of jazz is no more. Women are shaking up the music industry while the general public is becoming much more aware of the contributions female musicians have made to jazz. "Freedom of Expression: Interviews With Women in Jazz," a collection of interviews with 37 female musicians, musicians of all ages, nationalities, and races, and representing nearly every style of jazz one can imagine, provides evidence of this profound evolution. The interviewees, including Terri Lyne Carrington, Dee Dee Bridgewater, Eliane Elias, Carmen Lundy, Anat Cohen, Diane Schuur, and Sherrie Maricle, speak about their earliest experiences playing music, the years of practice required to become a professional musician, and what jazz means in the new millennium. These interviews will inform and inspire both casual and seasoned fans of this music, as well as young musicians taking their first steps in the journey to master their craft. "At long last, an in-depth recognition of the female contributions to jazz. As Dr. Billy Taylor said about the lack of awareness of female musicians: 'If it isn't written down, it didn't happen.' Now everyone will know that it did happen and continues to happen. What a great gift to the history of women and music." - Judy Chaikin, director of "The Girls in the Band." The interviewees: Mindi Abair - Saxophones Cheryl Bentyne - Voice Jane Ira Bloom - Soprano Saxophone Samantha Boshnack - Trumpet Dee Dee Bridgewater - Voice Terri Lyne Carrington - Drums Sharel Cassity - Saxophones Anat Cohen - Clarinet, Saxophones Jean Cook - Violin Connie Crothers - Piano Eliane Elias - Piano, Voice Ayelet Rose Gottlieb - Voice Lenae Harris- Cello Val Jeanty - Electronics, Percussion Jan Leder - Flute Jennifer Leitham - Double Bass Carmen Lundy - Voice Sherrie Maricle - Drums Jane Monheit - Voice Jacqui Naylor - Voice Aurora Nealand - Saxophones, Clarinet Iris Ornig - Double Bass Alisha Pattillo - Tenor Saxophone Roberta Piket - Piano Cheryl Pyle - Flute Nicole Rampersaud - Trumpet Sofia Rei - Voice Patrizia Scascitelli - Piano Diane Schuur - Voice Ellen Seeling - Trumpet Helen Sung - Piano Jacqui Sutton - Voice Mazz Swift - Violin, Voice Nioka Workman - Cello Pamela York - Piano Brandee Younger - Harp Malika Zarra - Voice
