Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0002
- Subject:
- Sociology, Culture
This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and ...
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This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and locus; the sources of income and press coverage for artists; the codification of genre ideal, performance, and technological conventions; boundary work; styles of dress, adornment, drugs, politics, and argot; and the invention of a name for the style. In order to focus on the attributes that characterize genre forms, the chapter selectively presents examples from three musical styles: bluegrass, old school rap, and bebop jazz. It hopes that focusing on examples from a sample of musics will highlight the features of genre types and their attributes without producing unnecessary confusion.Less
This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and locus; the sources of income and press coverage for artists; the codification of genre ideal, performance, and technological conventions; boundary work; styles of dress, adornment, drugs, politics, and argot; and the invention of a name for the style. In order to focus on the attributes that characterize genre forms, the chapter selectively presents examples from three musical styles: bluegrass, old school rap, and bebop jazz. It hopes that focusing on examples from a sample of musics will highlight the features of genre types and their attributes without producing unnecessary confusion.
Fiona Paton
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781949979930
- eISBN:
- 9781800852235
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979930.003.0014
- Subject:
- Literature, 20th-century Literature and Modernism
Spontaneous modern jazz influenced Jack Kerouac’s writing, but the imprint of jazz on 1950s poetry extends far beyond Kerouac. Robert Creeley formalized a bebop aesthetic that established a basis for ...
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Spontaneous modern jazz influenced Jack Kerouac’s writing, but the imprint of jazz on 1950s poetry extends far beyond Kerouac. Robert Creeley formalized a bebop aesthetic that established a basis for his poetry.Less
Spontaneous modern jazz influenced Jack Kerouac’s writing, but the imprint of jazz on 1950s poetry extends far beyond Kerouac. Robert Creeley formalized a bebop aesthetic that established a basis for his poetry.
Gary Giddins
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816690411
- eISBN:
- 9781452949536
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816690411.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on ...
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This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on decency and good taste. Dizzy Gillespie teamed up with Oscar Pettiford, with pianist George Wallington, saxophonist Don Byas, and Charlie Parker to form the band Diz and Bird on Fifty-second Street. They conducted their first performance of bebop jazz at Three Deuces club where many listeners found bebop jazz enticing.Less
This chapter discusses the popularization of bebop jazz music through the band Diz and Bird on Fifty-second Street. The jazz audience considered bebop a terrible dissonance and a frantic assault on decency and good taste. Dizzy Gillespie teamed up with Oscar Pettiford, with pianist George Wallington, saxophonist Don Byas, and Charlie Parker to form the band Diz and Bird on Fifty-second Street. They conducted their first performance of bebop jazz at Three Deuces club where many listeners found bebop jazz enticing.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0002
- Subject:
- Music, Popular
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs ...
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Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.Less
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.
