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Swing Changes: Big-Band Jazz in New Deal America
 
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Swing Changes: Big-Band Jazz in New Deal America [Paperback]

David W. Stowe (Author)

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Book Description

0674858263 978-0674858268 October 1, 1996
Bands were playing, people were dancing, the music business was booming. It was the big-band era, and swing was giving a new shape and sound to American culture. "Swing Changes" looks at New Deal America through its music and shows us how the contradictions and tensions within swing - over race, politics, its own cultural status, the role of women - mirrored those played out in the larger society. Drawing on memoirs, oral histories, newspapers, magazines, recordings, photographs, literature and films, "Swing Changes" offers a picture of American society at a pivotal time, and a perspective on music as a cultural force.

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Swing Changes: Big-Band Jazz in New Deal America + The Creation of Jazz: Music, Race, and Culture in Urban America (Blacks in the New World) + Blues People: Negro Music in White America
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Editorial Reviews

From Library Journal

Ware has written a fascinating social history of swing jazz, which dominated popular music from about 1935 to the late 1940s. He characterizes swing as the preeminent musical expression of the New Deal ethos, which emphasized individualism within a cooperative national collective. Explaining the social context that allowed swing to flourish, Ware describes the importance of Downbeat magazine; the United Hot Clubs of America; booking agencies; live, commercially sponsored radio broadcasts; and the jukebox. The author also details the New Deal contradictions over race and gender that fostered integration yet provided few opportunities to women and the African Americans who pioneered the musical form. He ends with the eclipse of swing by bebop. This clearly written and well-researched social history of New Deal America through its popular music is highly recommended.
David Szatmary, Univ. of Washington, Seattle
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Kirkus Reviews

This excellent book on the Swing Era, its music and meaning, is a model of interdisciplinary social history, combining music, business, economics, and politics in a seamless and fascinating chronicle. Stowe (American Language and Thought/Michigan State Univ.) examines swing as a reflection of changes in American ideology, the product of new technologies that allowed it to pervade American life in an unprecedented fashion, and, even more important, as a phenomenon that ``forced America to confront its own indebtedness to African-American culture as never before.'' He traces the evolution of the form as it makes an uneasy transition from dance music to art music, opening the book with a recapitulation of an extraordinary moment in jazz history, a January evening in 1938 on which Benny Goodman hosted a breakthrough concert at Carnegie Hall, then traveled uptown to a battle of the bands of Count Basie and Chick Webb at Harlem's Savoy Ballroom. Stowe explores the role of the critics--overwhelmingly white, wealthy, and progressive--in crafting the ideology surrounding the music, an amalgam of New Deal progressivism and a Utopian radicalism that was not uninfluenced by the Popular Front. Most tellingly, the author examines the ways in which the period of corporate consolidation in radio broadcasting and the recording industry as well as the rising power of the booking agencies combined to affect the ways in which the music of the period was disseminated. Finally, he traces the role of swing in the war effort and the subsequent economic decline of the musical form as a result of postwar changes--inflated salaries for musicians, a fragmenting audience, the rise of television. Although it begins to run out of steam in its last two chapters, much like the Swing Era itself, this is an intelligent and lively book, peppered with astute historical and musical observations. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

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More About the Author

David Stowe has been playing drums now for around forty years. He also plays saxophone and recently took up shape-note singing. His research and teaching interests lie in 20th-century cultural history of the United States, particularly the study of vernacular music. His most recent book is How Sweet the Sound: Music in the Spiritual Lives of Americans (Harvard, 2004), which won the Deems Taylor Award from ASCAP and received glowing reviews in U.S. News and World Report, The Christian Century, The Dallas Morning News, and Journal of the American Academy of Religion, among others. He has been interviewed about his work on NPR, consulted for PBS, and lectured on the subject of religion and music in America life for a variety of national organizations.

His previous book, Swing Changes: Big Band Jazz in New Deal America (Harvard, 1994), was published in Japanese translation by Hosei University Press in 1999. Stowe has published a study of New York cabaret culture and politics in the 1930s and 1940s in theJournal of American History, where he regularly reviews books. He has also written articles on Japanese jazz artist Toshiko Akiyoshi, the musical history of Psalm 137 in the U.S. and Caribbean, whiteness studies, copyright and fair use for academic authors, and church conflict during the Great Awakening. His latest book, No Sympathy for the Devil: Christian Pop Music and the Transformation of American Evangelicalism, will be published in early 2011.

While on leave from Michigan State University, Stowe taught at Doshisha University's Graduate School of American Studies in Kyoto, Japan, where he also served as Associate Dean. There he taught American Civilization, American Thought, history of American religious music, and workshops on research in American Studies. As part of his interest in the globalization of American Studies, Stowe has participated in international conferences of American Studies scholars in Japan, Korea, and Singapore. He is a founding member of the Institute for the Study of Christianity and Culture, a Michigan-based research institute that sponsors lectures and symposia by leading scholars from around the country. Stowe received his Ph.D. in American Studies from Yale University.

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