Introduction: the quest for cultural legitimacy 1. Before the jazz age: professional musicians and good music 2. The jazz age: professional musicians and the cultivated vernacular 3. The swing craze: professional musicians, swing music and the art of improvisation 4. The rise of a jazz art world: jazz enthusiasts, professional musicians and the modernist revolt 5. The new jazz age: the jazz art world and the modern jazz renaissance Conclusion: the jazz art world and American culture.

/pdf/the-rise-of-a-jazz-art-world-39mxxx7k2u.pdf

The Rise of a Jazz Art World

This article offers an intellectual history and critique of the concept of orality as developed by writers of the Toronto School, focusing especially on the work of Walter Ong and, to a lesser extent, Marshall McLuhan. It argues that common scholarly uses of orality, especially as a theory of acoustic or sound-based culture, are derived from the spirit-letter distinction in Christian spiritualism and a misreading of Hebraic philology by mid-twentieth-century theologians. It argues for a new history of early media and for a new global anthropology of communication that does not operate under the sign of orality. We can thereby honour the curiosity of scholars such as Harold Innis and Edmund Carpenter without taking their findings as timeless truths.RESUME  Cet article offre une histoire intellectuelle et critique du concept d’oralite tel que  developpe par des auteurs de l’Ecole de Toronto, en portant une attention particuliere a l’oeuvre de Walter Ong et, dans une moindre mesure, Marshall McLuhan. Il soutient que les applications academiques les plus communes de l’oralite, notamment en tant que theorie d’une culture acoustique ou sonore, se fondent sur la distinction esprit/lettre du spiritualisme chretien et une lecture erronee de la philologie hebraique par des theologiens du milieu du vingtieme siecle. Cet article propose une nouvelle histoire des medias originels et une nouvelle anthropologie mondiale de la communication qui depasseraient les conceptions conventionnelles de ce qu’est l’oralite. Nous pourrions ainsi honorer la curiosite de chercheurs comme Harold Innis et Edmund Carpenter sans devoir accepter leurs conclusions comme si elles etaient des verites intemporelles.

/pdf/the-theology-of-sound-a-critique-of-orality-22asjnofhc.pdf

The Theology of Sound: A Critique of Orality

Introduction and Background 1 Origins Precursors: including plantation music, ragtime, blues, brass bands Classic Jazz: New Orleans, Chicago in the 1920s, ODJB, Keppard, Oliver, Armstrong, Bix Beiderbecke Piano Jazz: ragtime to stride, swing, boogie woogie The Move to Larger Bands: Whiteman, Goldkette, Henderson, Ellington, Russell, Goodman, Shaw, Basie, Dorseys Interlude 1: International Jazz up to World War II 2 From Swing to Bop Small Groups in Transition: John Kirby, Benny Carter, Coleman Hawkins, 52nd St Birth of Bebop: Dizzy Gillespie, Charlie Parker, Kenny Clarke, Thelonious Monk, Oscar Pettiford How Bebop Developed: soloists, rhythm sections Larger Bands from Gillespie to Kenton and Herman Interlude 2: Dissemination: Summary of Recording and Broadcasting from 78s to Digital Technology 3 Consolidation of Bop Early Miles Davis, from Birth of the Cool to Kind of Blue Rollins, early Coltrane Hard Bop and Soul Jazz: Silver, Blakey, Morgan, Byrd, Henderson Cool Jazz and the West Coast Movement: Evans, Mulligan, Baker, MJQ, Konitz, Tristano, Lighthouse Large Bands: From Thornhill through to the Basie New Testament Band Interlude 3: Jazz Singing to 1950 4 New Jazz Free Jazz: Ornette Coleman, The New Thing (Ayler, Shepp) Cecil Taylor Coltrane and Mingus Politicisation: BAG, AACM, Braxton, Tapscott Interlude 4: New Orleans, Revival and Mainstream Jazz, Including JATP 5 Jazz as World Music Out of Africa: Jazz Epistles, Ibrahim, Masekela, McGregor, Pukwana, Pops Mahomen, Moses Molelekwa Latin Jazz: Afro-Cuban Jazz Brazilian Jazz Europe: Scandinavia, France, Germany, UK, Holland Interlude 5: Jazz Singing from 1950 6 Postmodern Jazz Jazz Fusions Big Band Renaissance: Akiyoshi, Russell, Ecans, Carla Bley, David Murray Jazz Repertory, Education and Neo-Classicism Urban Movements: From M-Base to hip-hop, rap and funk Columbia Records CD Tie-In A New History of Jazz includes boxed inserts with detailed discussions of each of the following performances which feature on the two-CD set Jazz the Definitive Performances, Columbia Records (Sony Music), Columbia J2K 65807 A sticker on each CD will refer to Alyn Shipton's book: Indiana: Original Dixieland Jazz Band* St Louis Blues: Bessie Smith* Dippermouth Blues: King Oliver* Stampede: Fletcher Henderson* Wild Cat Blues: Sidney Bechet/Clarence Williams* Singin the Blues: Frank Trumbauer and Bix Beiderbecke* West End Blues: Louis Armstrong* Tiger Rag: Art Tatum* God Bless the Child: Billie Holiday* Lester Leaps In: Count Basie* Flying Home: Benny Goodman* I Can't Get Started: Dizzie Gillespie* It Don't Mean a Thing: Duke Ellington* 9:30 Special: Coleman Hawkins/Basie* Let Me Off Uptown: Roy Eldridge/Gene Krupa* Tain't What'Cha Do: Jimmie Lunceford* Four Brothers: Woody Herman* Nica's Dream: Art Blakey/Horace Silver + Jazz Messengers* So What: Miles Davis/Coltrane/Cannonball Adderley/Bill Evans* Goodbye Pork Pie Hat: Mingus* Take Five: Dave Brubeck* It's All Right With Me: Erroll Garner* Straight No Chaser: Thelonious Monk* Searching: Duke Ellington* Sanctuary: Miles Davis* Meeting of the Spirits: John McLaughlin/Mahavishnu* Watermelon Man: Herbie Hancock* Birdland: Weather Report* Artist in America: Ornette Coleman* Round Midnight: Dexter Gordon* Steppin Out With My Baby: Tony Bennett* A Thousand Autumns: Branford Marsalis* Freedom is in the Trying: Wynton Marsalis

A new history of jazz

1. Introduction, Jonathan Webster (City University of Hong Kong, Hong Kong) 2. Ideas & new directions, Christian Matthiessen (Macquarie University, Australia) 3. Methods, techniques, problems, M. A. K. Halliday 4. Language development, Clare Painter (University of New South Wales, Australia) 5. Language and other primate species, James Benson (York University, Canada) & Paul Thibault (Agder University College, Kristiansand, Norway). 6. Linguistics Computing, Elke Teich (Technische Universitat Darmstadt, Germany) 7. Corpus-based research, Wu Canzhong 8. Clinical applications, Elizabeth Armstrong 9. Discourse studies, Jim Martin (University of Sydney, Australia) 10. The place of context in a systemic functional model, Ruqaiya Hasan 11. Stylistic analysis, Annabelle Lukin (Macquarie University, Australia) & David Butt (Macquarie University, Australia) 12. Resources and courses, Mick O'Donnell (University Autonoma de Madrid, Spain) 13. Keywords Bibliography Index.

http://www.gbv.de/dms/goettingen/557990661.pdf

Continuum companion to systemic functional linguistics

In the years following the end of World War Q, a new kind of landscape emerged in the United States, one that would immeasurably alter the way Americans think about place. Critics and commentators greeted the emergence of the environment we know as “suburbia” with a mixed reaction: for some, the suburbs represented the material embodiment of the “American Dream”: for others, architectural and environmental homogeneity marked the new suburbs as an alienating, even dangerous terrain. In the half-century since the onset of mass-suburbanization, the United States — which has, by now, become a primarily suburban nation — has continued to struggle with the image and cultural meanings of suburbia. Our vexed cultural relationship to the suburban landscape, evident even before the onset of postwar masssuburbanization, has characterized a small but compelling body of fictional and cinematic works set in the suburbs. This dissertation examines the representations of suburban life and landscape in fictional works by F. Scott Fitzgerald, John Cheever, John Updike, Ann Beattie, and Gloria Naylor, and in films by Frank Capra, Frank Perry, Mike Nichols, Bryan Forbes, and Reginald Hudlin. I argue that these writers and filmmakers self-consciously explore the dynamics of the suburban environment in their works, revealing the cultural aspirations and anxieties undergirding our relationship to suburbia as a lived environment and an idea(l). Their works present contrasting visions of the suburbs, reflecting America’s troubled and increasingly complex relationship to an environment that, ultimately, mirrors the fantasies and phobias of the culture at

Sidney Walter Finkelstein

Papers

Jazz: A People's Music

Realism in Art

Jazz: A People's Music

Existentialism and alienation in American literature

Sense and Nonsense of McLuhan