Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Jazz Piano Studies 2 is the second of two Jazz Study books from the pen of John Kember, they are fantastic collections of original studies and study pieces for the developing jazz pianist. Each book spans a host of jazz idioms from blues, traditional and 'big band' to gospel, ballad and more reflective styles. Jazz Piano Studies 2 concentrates on chord shapes, complex rhythms, blue notes, ornaments and chromatics. Both books contain hints and tips throughout to keep the performer on the right track.

Jazz and Totalitarianism examines jazz in a range of regimes that in significant ways may be described as totalitarian, historically covering the period from the Franco regime in Spain beginning in the 1930s to present day Iran and China. The book presents an overview of the two central terms and their development since their contemporaneous appearance in cultural and historiographical discourses in the early twentieth century, comprising fifteen essays written by specialists on particular regimes situated in a wide variety of time periods and places. Interdisciplinary in nature, this compelling work will appeal to students from Music and Jazz Studies to Political Science, Sociology, and Cultural Theory.

Komeda: A Private Life in Jazz is the biography of Krzysztof (Trzcinski) Komeda (1931-1969), composer of no fewer than 40 soundtracks, including film scores to all of Roman Polanski's early films such as Knife in the Water and Rosemary's Baby; and revered figure in the world of jazz, which regards his album, Astigmatic (released in 1966), as a key album in the history of European jazz. This biography of Komeda, originally published in Polish by Znak in 2018, the first to be published in the English language, not only traces Komeda's life, but also the development of Polish jazz during this period, showing how this arose in large part out of a need for self-expression and personal freedom during a repressive period of Soviet communist dominance. The book is full of interviews between the biographer and people who worked with and knew Krzysztof Komeda personally, and, while thoroughly-grounded in primary sources, it is written in a playful, questioning, engaging style.

A groundbreaking study of the trailblazing music of Chicago's AACM, a leader in the world of jazz and experimental music. Founded on Chicago's South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music. In Sound Experiments, Paul Steinbeck offers an in-depth historical and musical investigation of the collective, analyzing individual performances and formal innovations in captivating detail. He pays particular attention to compositions by Muhal Richard Abrams and Roscoe Mitchell, the Association's leading figures, as well as Anthony Braxton, George Lewis (and his famous computer-music experiment, Voyager), Wadada Leo Smith, and Henry Threadgill, along with younger AACM members such as Mike Reed, Tomeka Reid, and Nicole Mitchell. Sound Experiments represents a sonic history, spanning six decades, that affords insight not only into the individuals who created this music but also into an astonishing collective aesthetic. This aesthetic was uniquely grounded in nurturing communal ties across generations, as well as a commitment to experimentalism. The AACM's compositions broke down the barriers between jazz and experimental music and made essential contributions to African American expression more broadly. Steinbeck shows how the creators of these extraordinary pieces pioneered novel approaches to instrumentation, notation, conducting, musical form, and technology, creating new soundscapes in contemporary music.

In Learning to Listen, Gary Burton shares his fifty years of experiences at the top of the jazz scene. A seven-time Grammy award winner, Burton made his first recordings at age 17, has toured and recorded with a who's who of famous jazz names, and is one of only a few openly gay musicians in jazz. Burton is a true innovator, both as a performer and an educator. His autobiography is one of the most personal and insightful jazz books ever written.

Forward Groove is a powerfully eclectic survey of recorded jazz from 1923 to 2008, seeking to show jazz as a commentary on the social world of some of its finest musicians, from the great migrations north to Chicago and New York in the twenties and thirties, the campaigns against lynching and Jim Crow racism; the Civil Rights protests and the Vietnam anti-war movement of the fifties and sixties, to the South African anti-apartheid struggles in the sixties and seventies. The jazz art, insists Searle, is anything but mere entertainment: it is part of a culture of resistance, a music striving to build a framework of social and political justice. Searle shows that a vital dimension of jazz has always been to create a better, more joyous world, from Louis Armstrong's 'Coal Cart Blues', the lyrics of Bessie Smith and the Harlem rhapsodies of Duke Ellington, to Charlie Parker's 'Now's the Time', the new sounds of John Coltrane and Ornette Coleman and the commitment of Archie Shepp, and on to the contemporary Palestinian cry of Gilad Atzmon's alto saxophone.

French concert music and jazz often enjoyed a special creative exchange across the period 1900-65. French modernist composers were particularly receptive to early African-American jazz during the interwar years, and American jazz musicians, especially those concerned with modal jazz in the 1950s and early 1960s, exhibited a distinct affinity with French musical impressionism. However, despite a general, if contested, interest in the cultural interplay of classical music and jazz, few writers have probed the specific French music-jazz relationship in depth. In this book, Deborah Mawer sets such musical interplay within its historical-cultural and critical-analytical contexts, offering a detailed yet accessible account of both French and American perspectives. Blending intertextuality with more precise borrowing techniques, Mawer presents case studies on the musical interactions of a wide range of composers and performers, including Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, Bill Evans and Dave Brubeck.

Improvisation is a performance practice that animates and activates diverse energies of inspiration, critique, and invention. In recent years it has coalesced into an exciting and innovative new field of interdisciplinary scholarly inquiry, becoming a cornerstone of both practical and theoretical approaches to performance."

The Improvisation Studies Reader" draws together the works of key artists and thinkers from a range of disciplines, including theatre, music, literature, film, and dance. Divided by keywords into eight sections, this book bridges the gaps between these fields. The book includes case studies, exercises, graphic scores and poems in order to produce a teaching and research resource that identifies central themes in improvisation studies. The sections include:

• Listening
• Trust/Risk
• Flow
• Dissonance
• Responsibility
• Liveness
• Surprise
• Hope

Each section of the Reader is introduced by a newly commissioned think piece by a key figure in the field, which opens up research questions reflecting on the keyword in question.

By placing key theoretical and classic texts in conversation with cutting-edge research and artists statements, this book answers the urgent questions facing improvising artists and theorists in the mediatized Twenty-First Century. "

In this vivid history of jazz, a respected critic and a leading scholar capture the excitement of America s unique music with intellectual bite, unprecedented insight, and the passion of unabashed fans. They explain what jazz is, where it came from, and who created it and why, all within the broader context of American life and culture. Emphasizing its African American roots, Jazz traces the history of the music over the last hundred years. From ragtime and blues to the international craze for swing, from the heated protests of the avant-garde to the radical diversity of today s artists, Jazz describes the travails and triumphs of musical innovators struggling for work, respect, and cultural acceptance set against the backdrop of American history, commerce, and politics. With vibrant photographs by legendary jazz chronicler Herman Leonard, Jazz is also an arresting visual history of a century of music."

In a career that spanned 60 years, Paul Whiteman changed the landscape of American music, beginning with his million-selling recordings in the early 1920s of "Whispering," "Japanese Sandman," and "Three O'Clock in the Morning." Whiteman would then introduce "symphonic jazz," a powerful blend of the classical and jazz idioms that represented a whole new approach to modern American music, influencing generations of bandleaders and composers. While some hold that at the close of the Roaring Twenties Whiteman's musical hegemony quickly waned, Don Rayno illustrates in this second volume of Paul Whiteman: Pioneer in American Music how much of a dominant figure Whiteman remained. A major figure on the American music scene for decades to come, he would continue to lead critically-acclaimed orchestras, filling theaters and concert halls alike and diligently seeking out and nurturing musical talent on the largest scale of any orchestra leader in the 20th century. In this second volume of Rayno's magisterial treatment of the life and music of this remarkable maestro, Whiteman's career during the second half of his life is explored in the fullest detail, as Whiteman conquers the worlds of theater and vaudeville, the concert hall, radio, motion pictures, and television, winning accolades in all of them. Through hundreds of interviews, extensive documentation, and exhaustive research of over nearly three decades, a portrait emerges of one of American music's most important musical figures during the last century. Rayno paints a stunning portrait of Whiteman's considerable accomplishments and far-reaching influence.

Over 480 chords illustrated in standard notation, plus keyboard diagrams for instant note recognition. All the chords you need to play today's jazz music. You don't need to read music to use this chord finder!

A frank autobiography of the jazz trumpeter Miles Davis. This book records his life - the music, the women and the drugs. It talks about the white promotors and producers who exploited black musicians as well as the critics.

To serve the British nation in World War II, the BBC charged itself with mobilizing popular music in support of Britain's war effort. Radio music, British broadcasters and administrators argued, could maintain civilian and military morale, increase industrial production, and even promote a sense of Anglo-American cooperation. Because of their widespread popularity, dance music and popular song were seen as ideal for these tasks; along with jazz, with its American associations and small but youthful audience, these genres suddenly gained new legitimacy at the traditionally more conservative BBC. In Victory through Harmony, author Christina Baade both tells the fascinating story of the BBC's musical participation in wartime events and explores how popular music and jazz broadcasting helped redefine notions of war, gender, race, class, and nationality in wartime Britain. Baade looks in particular at the BBC's pioneering Listener Research Department, which tracked the tastes of select demographic groups including servicemen stationed overseas and young female factory workers in order to further the goal of entertaining, cheering, and even calming the public during wartime. The book also tells how the wartime BBC programmed popular music to an unprecedented degree with the goal of building national unity and morale, promoting new roles for women, virile representations of masculinity, Anglo-American friendship, and pride in a common British culture. In the process, though, the BBC came into uneasy contact with threats of Americanization, sentimentality, and the creativity of non-white "others," which prompted it to regulate and even censor popular music and performers. Rather than provide the soundtrack for a unified "People's War," Baade argues, the BBC's broadcasting efforts exposed the divergent ideologies, tastes, and perspectives of the nation. This illuminating book will interest all readers in popular music, jazz, and radio, as well as British cultural history and gender studies.

This dynamic collection brings together 12 of Gershwin's iconic songs arranged for solo classical guitar by the late John Duarte. Suitable for classical guitar players from intermediate to advanced level, this unmissable compilation is complete with a unique foreword containing insights from the acclaimed guitarist himself. Including online audio of each piece available to download.

Despite the fact that most of jazz's major innovators and performers have been African American, the overwhelming majority of jazz journalists, critics, and authors have been and continue to be white men. No major mainstream jazz publication has ever had a black editor or publisher. Ain't But a Few of Us presents over two dozen candid dialogues with black jazz critics and journalists ranging from Greg Tate, Farah Jasmine Griffin, and Robin D. G. Kelley to Tammy Kernodle, Ron Welburn, and John Murph. They discuss the obstacles to access for black jazz journalists, outline how they contend with the world of jazz writing dominated by white men, and point out that these racial disparities are not confined to jazz but hamper their efforts at writing about other music genres as well. Ain't But a Few of Us also includes an anthology section, which reprints classic essays and articles from black writers and musicians such as LeRoi Jones, Archie Shepp, A. B. Spellman, and Herbie Nichols. Contributors Eric Arnold, Bridget Arnwine, Angelika Beener, Playthell Benjamin, Herb Boyd, Bill Brower, Jo Ann Cheatham, Karen Chilton, Janine Coveney, Marc Crawford, Stanley Crouch, Anthony Dean-Harris, Jordannah Elizabeth, Lofton Emenari III, Bill Francis, Barbara Gardner, Farah Jasmine Griffin, Jim Harrison, Eugene Holley Jr., Haybert Houston, Robin James, Willard Jenkins, Martin Johnson, LeRoi Jones, Robin D. G. Kelley, Tammy Kernodle, Steve Monroe, Rahsaan Clark Morris, John Murph, Herbie Nichols, Don Palmer, Bill Quinn, Guthrie P. Ramsey Jr., Ron Scott, Gene Seymour, Archie Shepp, Wayne Shorter, A. B. Spellman, Rex Stewart, Greg Tate, Billy Taylor, Greg Thomas, Robin Washington, Ron Welburn, Hollie West, K. Leander Williams, Ron Wynn

Recorded by his quartet in a single session in 1964, A Love Supreme is widely considered John Coltrane's magnum opus and one of the greatest jazz albums of all time.
In Beyond A Love Supreme, Tony Whyton explores both the musical complexities of A Love Supreme and the album's seminal importance in jazz history. Marking Coltrane's transition from the bebop and hard bop of his earlier recordings to the free jazz style perfected throughout the rest of his career, the album also embodies the deep spirituality that characterized the final years of his life. The titles of the four part suite--"Acknowledgment," "Resolution," "Pursuance," and "Psalm"--along with the poem Coltrane composed for inclusion in the liner notes, which he "recites" instrumentally in "Psalm," reflect the religious aspect of the album, a quality that contributes to its mystique and symbolic importance within the canon of major jazz recordings. But Whyton also shows how A Love Supreme challenges many of the traditional, unreflective assumptions that permeate jazz culture--the binary oppositions between improvisation and composition, black music and white music, live performance and studio recording. He critically examines many of the mythologizing narratives about how the album was conceived and recorded and about what it signifies in terms of the trajectory of Coltrane's personal life. Sifting through the criticism of late Coltrane, Whyton suggests ways of listening to these recordings that go beyond the conventional ideologies of mainstream jazz practice and open the music to a wider range of responses.
Filled with fresh insights into one of the most influential recordings in jazz history, Beyond A Love Supreme is an indispensable resource for jazz scholars, jazz musicians, and fans and aficionados at all levels.

Miles Davis's Bitches Brew is one of the most iconic albums in American music, the preeminent landmark and fertile seedbed of jazz-fusion. Fans have been fortunate in the past few years to gain access to Davis's live recordings from this time, when he was working with an ensemble that has come to be known as the Lost Quintet. In this book, jazz historian and musician Bob Gluck explores the performances of this revolutionary group Davis's first electric band to illuminate the thinking of one of our rarest geniuses and, by extension, the extraordinary transition in American music that he and his fellow players ushered in. Gluck listens deeply to the uneasy tension between this group's driving rhythmic groove and the sonic and structural openness, surprise, and experimentation they were always pushing toward. There he hears and outlines a fascinating web of musical interconnection that brings Davis's funk-inflected sensibilities into conversation with the avant-garde worlds that players like Ornette Coleman and John Coltrane were developing. Going on to analyze the little-known experimental groups Circle and the Revolutionary Ensemble, Gluck traces deep resonances across a commercial gap between the celebrity Miles Davis and his less famous but profoundly innovative peers. The result is a deeply attuned look at a pivotal moment when once-disparate worlds of American music came together in explosively creative combinations.

A major new contribution to the study of African music, Soweto Blues tells the remarkable story of how jazz became a key part of South Africa's struggle in the 20th century, and provides a fascinating overview of the ongoing links between African and American styles of music. Ansell illustrates how jazz occupies an unique place in South African music. Through interviews with hundreds of musicians, she pieces together a vibrant narrative history, bringing to life the early politics of resistance, the atmosphere of illegal performance spaces, the global anti-apartheid influence of Hugh Masakela and Miriam Makeba, as well as the post-apartheid upheavals in the national broadcasting and recording industries. Featuring an introduction by Abdullah Ibrahim, Soweto Blues is a fitting tribute to the power of music to inspire optimism and self-expression in the darkest of times.

Clad in white tie and tails, dancing and scatting his way through the "Hi-de-ho" chorus of "Minnie the Moocher," Cab Calloway exuded a sly charm and sophistication that endeared him to legions of fans. In Hi-de-ho, author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway's life and career, explaining how he traversed racial and social boundaries to become one of the country's most beloved entertainers. Drawing on first-hand accounts from Calloway's family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway's desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York's famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences. More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway-one that expertly frames his enduring significance as a pioneering artist and entertainer.

This stylish piano album takes players on a musical tour of springtime, presenting well-loved jazz standards such as 'April in Paris' and 'Honeysuckle Rose' alongside cool original compositions by celebrated jazz pianist Nikki Iles. The nine pieces present a variety of jazz styles, including swing, folk, samba, and contemporary, drawing inspiration from the likes of Keith Jarrett, Oscar Peterson, Count Basie, and Chick Corea. With fully notated rhythms, grooves, and improvisations, Jazz in Springtime is the perfect collection for pianists looking for that authentic jazz sound. Contents: Honeysuckle Rose, Fats Waller/Andy Razaf, arr. Nikki Iles May Song, Trad. English, arr. Nikki Iles I've got the world on a string, Harold Arlen/Ted Kohler, arr. Nikki Iles Mwanzo, Nikki Iles It might as well be spring, Richard Rodgers/Oscar Hammerstein II, arr. Nikki Iles April in Paris, E. Y. Harburg/Vernon Duke, arr. Nikki Iles Up on the Hill, Nikki Iles Spring can really hang you up the most, Fran Landesman/Tommy Wolf, arr. Nikki Iles Flores, Nikki Iles

At its most intimate level, music heals our emotional wounds and inspires us. At its most public, it unites people across cultural boundaries. But can it rebuild a city? That's the central question posed in New Atlantis, journalist John Swenson's beautifully detailed account of the musical artists working to save America's most colorful and troubled metropolis: New Orleans. The city has been threatened with extinction many times during its three-hundred-plus-year history by fire, pestilence, crime, flood, and oil spills. Working for little money and in spite of having lost their own homes and possessions to Katrina, New Orleans's most gifted musicians-including such figures as Dr. John, the Neville Brothers, "Trombone Shorty," and Big Chief Monk Boudreaux-are fighting back against a tidal wave of problems: the depletion of the wetlands south of the city (which are disappearing at the rate of one acre every hour), the violence that has made New Orleans the murder capitol of the U.S., the waning tourism industry, and above all the continuing calamity in the wake of Hurricane Katrina (or, as it is known in New Orleans, the "Federal Flood"). Indeed, most of the neighborhoods that nurtured the indigenous music of New Orleans were destroyed in the flood, and many of the elder statesmen have died or been incapacitated since then, but the musicians profiled here have stepped up to fill their roles. New Atlantis is their story. Packed with indelible portraits of individual artists, informed by Swenson's encyclopedic knowledge of the city's unique and varied music scene-which includes jazz, R&B, brass band, rock, and hip hop-New Atlantis is a stirring chronicle of the valiant efforts to preserve the culture that gives New Orleans its grace and magic.

Behind the scenes in the life of a musician--an exuberant, entertaining memoir from jazz guitarist, singer, and raconteur John Pizzarelli John Pizzarelli, the son of jazz guitar legend Bucky Pizzarelli, is a connoisseur of American song who grew up among the legends of jazz. From teenage explorations of rock music to life on the road with his father, he worked his way from gigs in tiny clubs to opening for Frank Sinatra during his final international tour. Now Pizzarelli performs in festivals and top venues across the United States and the world, and he shares his unique journey in this revealing, charming, and heartwarming memoir. Includes firsthand stories of famous jazz greats and popular music icons including Frank Sinatra, Tony Bennett, Rosemary Clooney, Benny Goodman, Joe Pass, James Taylor, and Paul McCartney Reveals what it was like to grow up among great musicians and storytellers and shares the day-to-day experiences of a touring musician's life Includes thirty-five terrific photographs that take you inside John Pizzarelli's life and music Part of the Wiley-Lincoln Center alliance Absorbing, upbeat, funny, and down to earth, World on a String is an irresistible celebration of music and life that will appeal to John Pizzarelli's large and growing following.

Django Generations shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche-a genre known best for its energetic, guitar-centric swing tunes-is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as "Gypsies") to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In this book, Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice.