The origins of jazz were in the barrelhouses of New Orleans and the speakeasies of Chicago. By the nineteen fifties, a musical renaissance transformed jazz into a high art form. Paul Lopes shows how the rise of a jazz art world was a unique movement--a socially diverse community of musicians, critics, collectors, producers, and enthusiasts that struggled in various ways against cultural orthodoxy in America. This accessible, interdisciplinary book will be of great interest to scholars and students of sociology, cultural studies, American studies, African-American studies, and jazz studies.
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"Lopes has written a richly informative and highly readable book that is a welcome addition to the growing number of academic studies that engage with musical styles as the lifeblood of 'scenes' -- living cultures producing a verve and commitment that remain hard to fathom for those on the 'outside.'" American Journal of Sociology
Book Description
The origins of jazz were in the barrelhouses of New Orleans and the speakeasies of Chicago. By the nineteen fifties, a musical renaissance transformed jazz into a high art form. Paul Lopes shows how the rise of a jazz art world was a unique movement--a socially diverse community of musicians, critics, collectors, producers, and enthusiasts that struggled in various ways against cultural orthodoxy in America. This accessible, interdisciplinary book will be of great interest to scholars and students of sociology, cultural studies, American studies, African-American studies, and jazz studies.
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Inside This Book
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First Sentence:
We often hear complaints from musicians, especially band and orchestral, that they do not receive as much consideration and respect from the public as men of similar social status, but in other trades or professions... Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
jazz art world, black professional musicians, white professional musicians, hepcat musicians, modern jazz renaissance, black swing musicians, white swing big bands, white jazz enthusiasts, early jazz enthusiasts, high art appreciation, jazz traditionalists, jazz vernacular, special jazz concerts, new jazz age, early jazz critics, high art expression, outsider ethos, professional black musicians, sweet big bands, high art turn, professional popular musicians, righteous jazz, cultivated tradition, jazz connoisseurs, popular music market Key Phrases - Capitalized Phrases (CAPs): (learn more)
Down Beat, New York City, United States, Benny Goodman, Paul Whiteman, Duke Ellington, Louis Armstrong, African American, The Etude, Jim Crow, New Orleans, Carnegie Hall, Vincent Lopez, Los Angeles, Crow Jim, Jazz Information, John Hammond, San Francisco, Fletcher Henderson, Clef Club, Artie Shaw, Coleman Hawkins, Leonard Feather, Teddy Wilson, Bix Beiderbecke New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
We often hear complaints from musicians, especially band and orchestral, that they do not receive as much consideration and respect from the public as men of similar social status, but in other trades or professions... Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
jazz art world, black professional musicians, white professional musicians, hepcat musicians, modern jazz renaissance, black swing musicians, white swing big bands, white jazz enthusiasts, early jazz enthusiasts, high art appreciation, jazz traditionalists, jazz vernacular, special jazz concerts, new jazz age, early jazz critics, high art expression, outsider ethos, professional black musicians, sweet big bands, high art turn, professional popular musicians, righteous jazz, cultivated tradition, jazz connoisseurs, popular music market Key Phrases - Capitalized Phrases (CAPs): (learn more)
Down Beat, New York City, United States, Benny Goodman, Paul Whiteman, Duke Ellington, Louis Armstrong, African American, The Etude, Jim Crow, New Orleans, Carnegie Hall, Vincent Lopez, Los Angeles, Crow Jim, Jazz Information, John Hammond, San Francisco, Fletcher Henderson, Clef Club, Artie Shaw, Coleman Hawkins, Leonard Feather, Teddy Wilson, Bix Beiderbecke 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
books:
See all 100 books this book cites
4
books
cite this book:
- The New Negro : Voices of the Harlem Renaissance by Alain Locke on 4 pages
- The Encyclopedia Of Jazz (Da Capo Paperback) by Leonard Feather on 4 pages
- Bessie Smith by P. Oliver on page 51, page 159, and page 192
- The Music of Black Americans: A History (Third Edition) by Eileen Southern on page 22, page 259, and Back Matter
- American Jazz Music (The Roots of jazz) by Wilder Hobson on page 170, page 182, and page 191
See all 100 books this book cites
- Cultural Moves: African Americans and the Politics of Representation (American Crossroads) by Herman S. Gray in Back Matter (1), and Back Matter (2)
- Music and History: Bridging the Disciplines by Jeffrey H. Jackson on page 100, and page 112
- Culture and Everyday Life by Andy Bennett in Back Matter
- Sociology of the Arts: Exploring Fine and Popular Forms by Victoria Alexander in Back Matter
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