The New Grove Dictionary Of Jazz Vol 1

The New Grove Dictionary of Jazz, second edition will be the definitive resource for any serious lover & listener of jazz. This 3 volume hardcover second edition builds upon the impressive foundation laid by its predecessor in 1988 to become the most comprehensive jazz reference work ever published. Editor Barry Kernfeld, a well-known jazz authority & scholar, has brought together the world's leading experts in jazz, ensuring the accuracy, breadth, & depth expected from Grove's.

The New Grove Dictionary of Jazz, second edition will be the definitive resource for any serious lover & listener of jazz. This 3 volume hardcover second edition builds upon the impressive foundation laid by its predecessor in 1988 to become the most comprehensive jazz reference work ever published. Editor Barry Kernfeld, a well-known jazz authority & scholar, has brought together the world's leading experts in jazz, ensuring the accuracy, breadth, & depth expected from Grove's.

The New Grove Dictionary of Jazz, second edition will be the definitive resource for any serious lover & listener of jazz. This 3 volume hardcover second edition builds upon the impressive foundation laid by its predecessor in 1988 to become the most comprehensive jazz reference work ever published. Editor Barry Kernfeld, a well-known jazz authority & scholar, has brought together the world's leading experts in jazz, ensuring the accuracy, breadth, & depth expected from Grove's.

A Blues Bibliography, Second Edition is a revised and enlarged version of the definitive blues bibliography first published in 1999. Material previously omitted from the first edition has now been included, and the bibliography has been expanded to include works published since then. In addition to biographical references, 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. The Blues Bibliography is an invaluable guide to the enthusiastic market among libraries specializing in music and African-American culture and among individual blues scholars.

Jazz was banned from German broadcasting as soon as the Nazis came to power in 1933. Yet throughout World War II, American jazz and swing were core components of the Third Reich's propaganda. Jazz classics such as W.C. Handy's famous St. Louis Blues, their lyrics neatly tampered with, came over the airwaves, alongside the famous Germany Calling programmes directed at Britain and allied forces around the world.

Music/Ideology is a response to the question: Must the practice of music analysis and music theory always reinscribe the ideology of aesthetic autonomy? And, if not, under what circumstances does it reinscribe that ideology? The responses to these questions should appeal not only to music and cultural theorists, but also to a larger audience engaged in critical theory. These essays serve as an introduction to the broad array of issues arising from approaches that represent the full spectrum, from music-theoretical to marxist and feminist issues. Such questions are of vital importance, and not only to those who are engaged in establishing a connection among music theory, music analysis, and aesthetic ideology. Music/Ideology presents today's most interesting critical thinkers in postmodern theory and music theory, introducing an interdisciplinary approach and covering a wide range of subjects - both by implication and explication.

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.