Results 201 to 210 of about 122,046 (252)
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2022
This chapter surveys Buck and Bubbles’s career in the early 1930s. During this period, the two actors reached the peak of their popularity and critical acclaim. At the same time, vaudeville, their customary meal ticket, was declining while Black jazz was attracting more and more adherents.
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This chapter surveys Buck and Bubbles’s career in the early 1930s. During this period, the two actors reached the peak of their popularity and critical acclaim. At the same time, vaudeville, their customary meal ticket, was declining while Black jazz was attracting more and more adherents.
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2021
The question “what is jazz?” has been asked regularly since the origins of this music in the early 20th century. Over this time, jazz has undergone many changes, but certain characteristics—such as a particular kind of syncopated rhythm, improvisation, and tonal harmony—have remained more or less constant.
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The question “what is jazz?” has been asked regularly since the origins of this music in the early 20th century. Over this time, jazz has undergone many changes, but certain characteristics—such as a particular kind of syncopated rhythm, improvisation, and tonal harmony—have remained more or less constant.
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Jazz in Worship and Worship in Jazz
2021Jazz in Worship and Worship in JazzThe musical language of Liturgical, Sacred, and Spiritual Jazz in a postsecular Age.AbstractThe aim of this dissertation is to identify musical elements that contribute to the generation of religious meaning in jazz performance and to explore how religious experience can inspire jazz composition.
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2020
This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive
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This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive
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During the transition from omnibus to format radio, two actors rise to prominence, the record and the DJ. It was only in the 1950s that the record and radio industries begin a real and symbiotic partnership. A corps of DJs that specialized in jazz emerged hosting both record shows and live remote jazz performances.
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General Music Today, 2008
In this article, jazz music is used as a lens through which early childhood music pedagogy is viewed, specifically thinking about swing and improvisation—the listening and responding to what is heard and seen, and the openness to possibility. These two concepts are defined by prominent jazz musicians and are traced in the child development literature ...
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In this article, jazz music is used as a lens through which early childhood music pedagogy is viewed, specifically thinking about swing and improvisation—the listening and responding to what is heard and seen, and the openness to possibility. These two concepts are defined by prominent jazz musicians and are traced in the child development literature ...
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2000
Abstract In the beginning, the word jazz was not a noun naming a musical genre but probably an adjective describing a certain quality of movement and behavior: spirited, improvised, often sensual, and with a quirky rhythm. By the end of the second decade of this century the term was applied to both a kind of music and a kind of dancing ...
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Abstract In the beginning, the word jazz was not a noun naming a musical genre but probably an adjective describing a certain quality of movement and behavior: spirited, improvised, often sensual, and with a quirky rhythm. By the end of the second decade of this century the term was applied to both a kind of music and a kind of dancing ...
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1992
Abstract Though Metronome magazine named Marian McPartland’ s trio the Small Group of the Year in 1955, we only made two albums, for Capitol Records. Marian added a harp and cello to a couple of the tunes, an unusual blending of “classical” instruments with a jazz trio in those days.
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Abstract Though Metronome magazine named Marian McPartland’ s trio the Small Group of the Year in 1955, we only made two albums, for Capitol Records. Marian added a harp and cello to a couple of the tunes, an unusual blending of “classical” instruments with a jazz trio in those days.
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