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Making the Scene : Contemporary New York City Big Band Jazz /
The received wisdom of popular jazz history is that the era of the big band was the 1930s and 40s, when swing was at its height. But as practicing jazz musicians know, even though big bands lost the spotlight once the bebop era began, they never really disappeared. Making the Scene challenges conven...
| Autor principal: | |
|---|---|
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Berkeley :
University of California Press,
2007.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 100 | 1 | |a Stewart, Alex, |d 1952- | |
| 245 | 1 | 0 | |a Making the Scene : |b Contemporary New York City Big Band Jazz / |c Alex Stewart. |
| 264 | 1 | |a Berkeley : |b University of California Press, |c 2007. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2014 | |
| 264 | 4 | |c ©2007. | |
| 300 | |a 1 online resource (416 pages). | ||
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| 490 | 0 | |a Roth Family Foundation Music in America imprint | |
| 500 | |a "Roth Family Foundation music in America imprint"--Prelim. p. | ||
| 505 | 0 | |a New York City big band scenes -- Behind the scenes : training, rehearsals, and gigs -- The rise of repertory orchestras -- On the inside : the Vanguard Jazz Orchestra -- Making it work : leaders and musical direction -- New directions in jazz composition : three portraits -- On the edge : Sue Mingus and the Mingus Big Band -- "In the crack" to "totally outside" : avant-garde bands -- Jazz and clave : Latin big bands -- Going for it : all-women bands -- Blood on the fields : Wynton Marsalis and the transformation of the Lincoln Center Jazz Orchestra -- Outro. | |
| 520 | |a The received wisdom of popular jazz history is that the era of the big band was the 1930s and 40s, when swing was at its height. But as practicing jazz musicians know, even though big bands lost the spotlight once the bebop era began, they never really disappeared. Making the Scene challenges conventional jazz historiography by demonstrating the vital role of big bands in the on-going development of jazz. Identifying over eighty contemporary big bands in New York City alone, most of them hidden in plain sight, Alex Stewart describes how jazz musicians have found big bands valuable, not only as compositional and skill-building resources, but for making social contacts. In addition he explores the rich "rehearsal band" scene in New York and the rise of repertory orchestras. A rare example of a holistic approach to musicology, Making the Scene combines historical research, ethnography, and participant observation with musical analysis, ethnic studies, and gender theory, to demolish stereotypical views of the big band. A jazzman himself, Stewart shares insider perspectives on contemporary big bands such as the Vanguard, the Lincoln Center Jazz Orchestra, and the Mingus Big Band, along with such composers as Maria Schneider, Andrew Hill, Ray Santos, and Carla Bley. Setting a broad new standard for jazz studies, Making the Scene explores the creative interactions of composers and improvising musicians from avant-garde and Latin big bands to mainstream jazz orchestras. | ||
| 546 | |a English. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Jazz |2 gnd | |
| 650 | 7 | |a Musik |2 gnd | |
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| 650 | 7 | |a MUSIC |x Printed Music |x Band & Orchestra. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Musical Instruments |x General. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Genres & Styles |x Big Band & Swing. |2 bisacsh | |
| 650 | 6 | |a Big bands |z New York (État) |z New York. | |
| 650 | 0 | |a Big bands |z New York (State) |z New York. | |
| 650 | 0 | |a Big band music |x History and criticism. | |
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| 651 | 7 | |a New York (State) |z New York. |2 fast |0 (OCoLC)fst01204333 | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 655 | 7 | |a Electronic books. |2 local | |
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| 945 | |a Project MUSE - Archive US Regional Studies, New England and Mid Atlantic Supplement II | ||