Explains how jazz was shaped by urbanization, the 'great migration' of southern blacks northward, and the 'jazz image' - dress code, jargon, and use of drugs. This book places jazz in its rich social context.
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Editorial Reviews
From Publishers Weekly
In this well-researched, important sociocultural study of the development of jazz between 1900 and 1940, Peretti argues that jazz--an urban music--was essentially "created" between 1915 and 1930 when Southern blacks migrated north to places like Kansas City and Chicago. According to the author, who teaches American studies at the University of Kansas, jazz rose as a cultural triumph, acquiring "its expressive potential and social meaning" despite big-city class and racial divisions. Peretti, relying heavily on oral history and newspaper accounts, examines such topics as differences between blues and jazz, the influence of European classical music and white musicians on early jazz, the effects on musicians of economic shifts and profiteers, race relations and male dominance among these cultural pioneers. Photos not seen by PW.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Jazz is an urban music that grew out of city stimuli and fulfilled urban social functions, says historian Peretti. He focuses on the era 1900-40 and cites wide readings and interviews with musicians, including Willie Humphrey, Edward "Kid" Ory, and Milt Hinton. Peretti explains how jazz was shaped by urbanization, the "great migration" of Southern blacks northward, and the "jazz image"--dress code, jargon, and use of drugs. Peretti places jazz in its rich social context, building on works of Sidney Finkelstein ( Jazz: A People's Music , 1948) and Neil Leonard ( Jazz: Myth and Religion , LJ 3/1/87; Jazz and the White Americans , 1962). For most academic music collections.
- Paul Baker, CUNA Inc., Madison, Wis.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
- Paul Baker, CUNA Inc., Madison, Wis.
Copyright 1992 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Inside This Book
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First Sentence:
In the beginning, there were Africans in America, striving to hold onto Africa. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
autobiography typescript, migrant musicians, jazz subculture, white jazz musicians, early jazz musicians, instrumental blues, black jazz musicians, jazz studies, jazz culture, white musicians, colored musicians, black musicians, white players, jazz community, jazz players Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Orleans, New York, South Side, Earl Hines, Louis Armstrong, Bud Freeman, Milt Hinton, Duke Ellington, Eddie Condon, Mezz Mezzrow, Sidney Bechet, Art Hodes, Clyde Bernhardt, Jim Crow, Wingy Manone, Pops Foster, Alberta Hunter, Artie Shaw, Max Kaminsky, Barney Bigard, Benny Goodman, Kid Ory, Benny Carter, Bill Davison, Hoagy Carmichael New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
In the beginning, there were Africans in America, striving to hold onto Africa. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
autobiography typescript, migrant musicians, jazz subculture, white jazz musicians, early jazz musicians, instrumental blues, black jazz musicians, jazz studies, jazz culture, white musicians, colored musicians, black musicians, white players, jazz community, jazz players Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Orleans, New York, South Side, Earl Hines, Louis Armstrong, Bud Freeman, Milt Hinton, Duke Ellington, Eddie Condon, Mezz Mezzrow, Sidney Bechet, Art Hodes, Clyde Bernhardt, Jim Crow, Wingy Manone, Pops Foster, Alberta Hunter, Artie Shaw, Max Kaminsky, Barney Bigard, Benny Goodman, Kid Ory, Benny Carter, Bill Davison, Hoagy Carmichael New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
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67
books
cite this book:
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- The World of Earl Hines (Da Capo Paperback) by Stanley Dance on 19 pages
- DUKE ELLINGTON (GREAT ACHIEVERS) (Great Achievers Series) by Collier on 11 pages
- Stormy Weather: The Music and Lives of a Century of Jazz Women by Linda Dahl on 4 pages
- An Autobiography of Black Jazz by Dempsey J. Travis on 4 pages
- Black Music of Two Worlds: African, Caribbean, Latin, and African-American Traditions by John Storm Roberts on 4 pages
See all 100 books this book cites
- Swing, That Modern Sound by Kenneth J. Bindas in Back Matter (1), Back Matter (2), and Back Matter (3)
- Postcolonial Discourse and Changing Cultural Contexts: Theory and Criticism (Contributions to the Study of World Literature) by Radhika Mohanram on page 97, page 98, and Back Matter
- The Music of Anthony Braxton: (Contributions to the Study of Music and Dance) by Mike Heffley on page 51, page 204, and Back Matter
- A Right to Sing the Blues: African Americans, Jews, and American Popular Song by Jeffrey Melnick in Back Matter (1), and Back Matter (2)
- The 1920s (American Popular Culture Through History) by Kathleen M. Drowne in Back Matter
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