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This anthology was compiled to aid the scholar working on the origins and evolution of jazz. Covering materials published through 1929, it also begins with articles from 1856 which do not concern jazz directly, but will serve to present a solid foundation for understanding the American music scene from which jazz developed. Chronologically listed and well-indexed, the hundreds of articles comprise, in effect, a history of jazz as it evolved. Beginning with accounts of negro music in the pre-jazz era, continuing in an exploration of spirituals, followed by a description of ragtime, we finally learn about the development of jazz from its practitioners and informed audiences of the time.
The Oxford Handbook of Music and the Middlebrow takes a fresh look at the history of nineteenth- and twentieth-century music. Offering an alternative to the traditional focus on either highbrow modernism on the one hand or lowbrow popular music on the other, its novel view centers on the wealth of previously overlooked products and practices that bridged the space between these cultural extremes. While seminal attempts to recover middlebrow culture came from literary critics and historians, middlebrow studies is now a burgeoning field within musicology. As the first essay collection on this topic, this handbook has two aims: first, it seeks to explore the middlebrow as a historical phenomenon, excavating the kinds of critical writings, marketing practices, and compositional styles with which it was associated. By reanimating a range of musical practices and products--from symphonic concerts to Broadway musicals, opera criticism to rock journalism, and modern jazz to pop-rock--the contributors investigate how artists, critics, and audiences breached the divide from both above and below. In the process, the handbook chapters push the boundaries of middlebrow studies and demonstrate the category's relevance outside of the mid-twentieth-century Anglophone world by delving into the nineteenth century, interrogating the present day, and looking to Germany, Russia, and beyond. The handbook's second aim is to complicate the disciplinary divisions that have flowed from the entrenched oppositions between high and low genres. Breaking new ground by bringing together scholars of classical and popular music, these chapters trace common middlebrow themes across traditional disciplinary boundaries. Across this broad vista, contributors account for the kinds of syntheses, overlaps, and juxtapositions that made the cultural middle such a richly textured and endlessly contested terrain.
When Genres Collide is a provocative history that rethinks the relationship between jazz and rock through the lens of the two oldest surviving and most influential American popular music periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke Ellington argued that the new music called rock 'n' roll “is the most raucous form of jazz, beyond a doubt.” So why did jazz and rock subsequently become treated as separate genres? The rift between jazz and rock (and jazz and rock scholarship) is based on a set of received assumptions about their fundamental differences, but there are other ways popular music history could have been written. By offering a fresh examination of key historical moments when the trajectories and meanings of jazz and rock intersected, overlapped, or collided, it reveals how music critics constructed an ideological divide between jazz and rock that would be replicated in American musical discourse for decades to follow.
The drum kit has provided the pulse of popular music from before the dawn of jazz up to the present day pop charts. Kick It, a provocative social history of the instrument, looks closely at key innovators in the development of the drum kit: inventors and manufacturers like the Ludwig and Zildjian dynasties, jazz icons like Gene Krupa and Max Roach, rock stars from Ringo Starr to Keith Moon, and popular artists who haven't always got their dues as drummers, such as Karen Carpenter and J Dilla. Tackling the history of race relations, global migration, and the changing tension between high and low culture, author Matt Brennan makes the case for the drum kit's role as one of the most transformative musical inventions of the modern era. Kick It shows how the drum kit and drummers helped change modern music--and society as a whole--from the bottom up.
SHORTLISTED FOR THE 2018 WOLFSON HISTORY PRIZE The extraordinary and essential story of how China became the powerful country it is today. Even at the high noon of Europe's empires China managed to be one of the handful of countries not to succumb. Invaded, humiliated and looted, China nonetheless kept its sovereignty. Robert Bickers' major new book is the first to describe fully what has proved to be one of the modern era's most important stories: the long, often agonising process by which the Chinese had by the end of the 20th century regained control of their own country. Out of China uses a brilliant array of unusual, strange and vivid sources to recreate a now fantastically remote world: the corrupt, lurid modernity of pre-War Shanghai, the often tiny patches of 'extra-territorial' land controlled by European powers (one of which, unnoticed, had mostly toppled into a river), the entrepôts of Hong Kong and Macao, and the myriad means, through armed threats, technology and legal chicanery, by which China was kept subservient. Today Chinese nationalism stays firmly rooted in memories of its degraded past - the quest for self-sufficiency, a determination both to assert China's standing in the world and its outstanding territorial claims, and never to be vulnerable to renewed attack. History matters deeply to Beijing's current rulers - and Out of China explains why.
In 1912 James Reese Europe made history by conducting his 125-member Clef Club Orchestra at Carnegie Hall. The first concert by an African American ensemble at the esteemed venue was more than just a concert--it was a political act of desegregation, a defiant challenge to the status quo in American music. In this book, David Gilbert explores how Europe and other African American performers, at the height of Jim Crow, transformed their racial difference into the mass-market commodity known as "black music." Gilbert shows how Europe and others used the rhythmic sounds of ragtime, blues, and jazz to construct new representations of black identity, challenging many of the nation's preconceived ideas about race, culture, and modernity and setting off a musical craze in the process. Gilbert sheds new light on the little-known era of African American music and culture between the heyday of minstrelsy and the Harlem Renaissance. He demonstrates how black performers played a pioneering role in establishing New York City as the center of American popular music, from Tin Pan Alley to Broadway, and shows how African Americans shaped American mass culture in their own image.
James Weldon Johnson (1871–1938) exemplified the ideal of the American public intellectual as a writer, educator, songwriter, diplomat, key figure of the Harlem Renaissance, and first African American executive of the NAACP. Originally published anonymously in 1912, Johnson’s novel The Autobiography of an Ex-Colored Man is considered one of the foundational works of twentieth-century African American literature, and its themes and forms have been taken up by other writers, from Ralph Ellison to Teju Cole. Johnson’s novel provocatively engages with political and cultural strains still prevalent in American discourse today, and it remains in print over a century after its initial publication. New Perspectives contains fresh essays that analyze the book’s reverberations, the contexts within which it was created and received, the aesthetic and intellectual developments of its author, and its continuing influence on American literature and global culture. Contributors: Bruce Barnhart, Lori Brooks, Ben Glaser, Jeff Karem, Daphne Lamothe, Noelle Morrissette, Michael Nowlin, Lawrence J. Oliver, Diana Paulin, Amritjit Singh, Robert B. Stepto
To justify the plundering of today's Democratic Republic of the Congo, U.S. intellectual elites have continuously produced dismissive Congo discourses. Tracing these discourses in great depth and breadth for the first time, Johnny Van Hove shows how U.S. intellectuals (and their influential European counterparts) have been using the Congo in similar fashions for their own goals. Analyzing intellectuals as diverse as W.E.B. Du Bois, Joseph Conrad, and David Van Reybrouck, the book offers a theorization of Central West Africa, a case study of normalized narratives on the "Other", and a stirring wake up call for all contemporary writers on international history and politics.
From the prizewinning Jewish Lives series, a meditation on the deeply Jewish and surprisingly spiritual roots of Stan Lee and Marvel Comics Few artists have had as much of an impact on American popular culture as Stan Lee. The characters he created—Spider-Man and Iron Man, the X-Men and the Fantastic Four—occupy Hollywood’s imagination and production schedules, generate billions at the box office, and come as close as anything we have to a shared American mythology. This illuminating biography focuses as much on Lee’s ideas as it does on his unlikely rise to stardom. It surveys his cultural and religious upbringing and draws surprising connections between celebrated comic book heroes and the ancient tales of the Bible, the Talmud, and Jewish mysticism. Was Spider-Man just a reincarnation of Cain? Is the Incredible Hulk simply Adam by another name? From close readings of Lee’s work to little-known anecdotes from Marvel’s history, the book paints a portrait of Lee that goes much deeper than one of his signature onscreen cameos. About Jewish Lives: Jewish Lives is a prizewinning series of interpretative biography designed to explore the many facets of Jewish identity. Individual volumes illuminate the imprint of Jewish figures upon literature, religion, philosophy, politics, cultural and economic life, and the arts and sciences. Subjects are paired with authors to elicit lively, deeply informed books that explore the range and depth of the Jewish experience from antiquity to the present. In 2014, the Jewish Book Council named Jewish Lives the winner of its Jewish Book of the Year Award, the first series ever to receive this award. More praise for Jewish Lives: “Excellent.” – New York times “Exemplary.” – Wall St. Journal “Distinguished.” – New Yorker “Superb.” – The Guardian
This abridged version of Jazz Styles was developed in response to requests for an introductory book offering the clarity and accuracy of Jazz Styles with 1/2 the size, 1/4 the number of names and tune titles, and 1/3 the number of musician profiles. Using a simple, yet lively writing style, and an abundance of illustrations, it is easily accessible to readers with no previous knowledge of music -- or any technical sophistication. Written by an active jazz musician and eminent jazz historian, this brief yet substantive introduction to jazz examines how jazz originated, how it is made, what to listen for, the major style eras, and the individual styles of 40 historically significant jazz musicians. These styles include early jazz (Dixieland); swing; bebop; cool jazz; hard bop; avant-garde of the 1960s and 7Os; and jazz-rock fusion.