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Today's Retro Swing bands, like the Squirrel Nut Zippers and the Brian Setzer Orchestra, all owe their inspiration to the original masters of Swing. This rich reference details the oeuvre of the leading Swing musicians from the WWII and post-WWII years. Chapters on the masters of Swing (Ella Fitzgerald, Woody Herman, Billy Strayhorn), the legendary Big Band leaders (such as Les Brown, Dizzy Gillespie, Stan Kenton, Buddy Rich, Vaughan Monroe, etc.), vocalists (including Cab Calloway, Billie Holiday, Peggy Lee, Frank Sinatra, Sarah Vaughn, Dinah Washington), and Small Groups (Louis Jordan, Art Tatum, Charlie Ventura, etc.) introduce these timeless musicians to a new generation of musicians and music fans. An opening chapter recounts how the cultural changes during the war and postwar years affected performers-especially women and African-Americans-and an A-to-Z appendix provides synopses of almost 700 entrants, including related musicians and famous venues. A bibliography and subject index provide additional tools for those researching Swing music and its many roles in mid-century American culture. This volume is a perfect sequel to Dave Oliphant's The Early Swing Era: 1930 to 1941. Together, these books provide the perfect reference guide to an enduring form of American music.
Profiles legendary Swing musicians, bands, small groups, and vocalists that were popular during World War II and in the years following the war.
This book seeks to trace the rise of popular music, identify its key figures and track the origins and development of its multiple genres and styles, all the while seeking to establish historical context. It is, fundamentally, a ready reference guide to the broad field of popular music over the past two centuries. It has become a truism that popular music, so pervasive in the modern world, constitutes a soundtrack to our lives – a constant though changing presence as we cross thresholds and grow from children to teenagers to adults. But it has become more than a soundtrack; it has become a narrative. Not just an accompaniment to our daily lives but incorporating our lives, our sense of identity, our lived experiences, into it. We have become part of the music just as the music has become part of us. The Historical Dictionary of Popular Music contains a chronology, an introduction, an appendix, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on major figures across genres, definitions of genres, technical innovations and surveys of countries and regions. This book is an excellent resource for students, researchers, and anyone wanting to know more about popular music.
More than 150 articles provide a revealing look at one of the most tempestuous decades in recent American history, describing the everyday activities of Americans as they dealt first with war, and then a difficult transition to peace and prosperity. The two-volume World War II and the Postwar Years in America: A Historical and Cultural Encyclopedia contains over 175 articles describing everyday life on the American home front during World War II and the immediate postwar years. Unlike publications about this period that focus mainly on the big picture of the war and subsequent economic conditions, this encyclopedia drills down to the popular culture of the 1940s, bringing the details of the lives of ordinary men, women, and children alive. The work covers a broad range of everyday activities throughout the 1940s, including movies, radio programming, music, the birth of commercial television, advertising, art, bestsellers, and other equally intriguing topics. The decade was divided almost evenly between war (1940-1945) and peace (1946-1950), and the articles point up the continuities and differences between these two periods. Filled with evocative photographs, this unique encyclopedia will serve as an excellent resource for those seeking an overview of life in the United States during a decade that helped shape the modern world.
What Shall I Be follows the transformation of American music in the Cold War era-from Doris Day to John Cage, doo-wop to Asian American cabaret-and the rise of identity as a site of political activity.
This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.
This book is the first collection of multi-disciplinary research on the experience of Italian-Jewish musicians and composers in Fascist Italy. Drawing together seven diverse essays from both established and emerging scholars across a range of fields, this book examines multiple aspects of this neglected period of music history, including the marginalization and expulsion of Jewish musicians and composers from Italian theatres and conservatories after the 1938–39 Race Laws, and their subsequent exile and persecution. Using a variety of critical perspectives and innovative methodological approaches, these essays reconstruct and analyze the impact that the Italian Race Laws and Fascist Italy’s musical relations with Nazi Germany had on the lives and works of Italian Jewish composers from 1933 to 1945. These original contributions on relatively unresearched aspects of historical musicology offer new insight into the relationship between the Fascist regime and music.
In the first half of the twentieth century, a number of American theatres and theatre artists fostered interracial collaboration and socialization on stage, behind the scenes, and among audiences. In an era marked by entrenched racial segregation and inequality, these artists used performance to bridge America’s persistent racial divide and to bring African American, Latino/Latina, Asian American, Native American, and Jewish American communities and traditions into the nation’s broader cultural conversation. In Experiments in Democracy, edited by Cheryl Black and Jonathan Shandell, theatre historians examine a wide range of performances—from Broadway, folk plays and dance productions to scripted political rallies and radio dramas. Contributors look at such diverse groups as the Theatre Union, La Unión Martí-Maceo, and the American Negro Theatre, as well as individual playwrights and their works, including Theodore Browne’s folk opera Natural Man, Josefina Niggli’s Soldadera, and playwright Lynn Riggs’s Cherokee Night and Green Grow the Lilacs (the basis for the musical Oklahoma!). Exploring the ways progressive artists sought to connect isolated racial and cultural groups in pursuit of a more just and democratic society, contributors take into account the blind spots, compromised methods, and unacknowledged biases at play in their practices and strategies. Essays demonstrate how the gap between the ideal of American democracy and its practice—mired in entrenched systems of white privilege, economic inequality, and social prejudice—complicated the work of these artists. Focusing on questions of race, ethnicity, gender, and sexuality on the stage in the decades preceding the Civil Rights era, Experiments in Democracy fills an important gap in our understanding of the history of the American stage—and sheds light on these still-relevant questions in contemporary American society.
This book explores the major cultural forms of 1940s America - fiction and non-fiction; music and radio; film and theatre; serious and popular visual arts - and key texts, trends and figures, from Native Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob Hope. After discussing the dominant ideas that inform the 1940s the book culminates with a chapter on the 'culture of war'. Rather than splitting the decade at 1945, Jacqueline Foertsch argues persuasively that the 1940s should be taken as a whole, seeking out links between wartime and postwar American culture.
Hip Hop’s Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans' unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of "African American movement music." Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for.