Dictionnaire du Jazz

Titre : Dictionnaire du Jazz
Auteur : Encyclopaedia Universalis
Éditeur : Encyclopaedia Universalis
ISBN-13 : 9782852295537
Libération : 2015-10-27

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Extrait de deux ouvrages monumentaux, le Dictionnaire des Musiciens et le Dictionnaire des Musiques, précédemment parus dans la même collection, ce dictionnaire se consacre au jazz sous toutes ses formes : les styles (COOL, FUSION, NEW ORLEANS...), les genres voisins (DIXIELAND, BLUES, GOSPEL...) et surtout, bien sûr, les musiciens et les musiciennes, instrumentistes, chanteurs et chanteuses, qui ont marqué l’histoire du jazz et font son actualité. Depuis ADDERLEY (Cannonball) jusqu’à YOUNG (Lester) en passant par BLEY (Carla), COLTRANE (John) ou TATUM (Art) plus de 250 biographies présentent, des origines à nos jours, les multiples facettes de cet art si divers. Tout le jazz y est rassemblé pour vous sous la conduite des guides les plus compétents. Un index facilite la consultation du Dictionnaire du Jazz, auquel ont collaboré 26 auteurs parmi lesquels Alain Gerber, Eugène Lledo, Xavier Prévost, Lucien Rioux...

Dictionnaire des Musiques

Titre : Dictionnaire des Musiques
Auteur : Encyclopaedia Universalis
Éditeur : Encyclopaedia Universalis
ISBN-13 : 9782852291393
Libération : 2015-10-27

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Le Dictionnaire des Musiques réunit plus de six cents articles empruntés au fonds de l’Encyclopaedia Universalis et aborde tous les aspects de la musique : les formes et les genres (sonate, rhapsodie, valse, madrigal...), l’écriture et la théorie (gamme, arrangement, tempérament, rubato...), les voix et l’art lyrique (baryton, contre-ténor, bel canto, Covent Garden, Scala de Milan...), les traditions musicales (Afrique noire, Moyen-Orient, Asie du Sud-Est...), la musique contemporaine (aléatoire, concrète, minimaliste, sérielle...), tous les instruments (arc musical, piano, célesta, tympanon, flûte...), les courants musicaux d’aujourd’hui (rock, raï, hip-hop...), le jazz, le blues, la world music, la musique de film, les festivals... Un inépuisable inventaire des musiques passées et présentes, avec un accent mis sur les musiques savantes, sous la conduite des guides les plus qualifiés. Un index facilite la consultation du Dictionnaire des Musiques, auquel ont collaboré plus de cent auteurs, parmi lesquels François Bayle, Philippe Beaussant, Gérard Condé, Alain Féron, Paul Méfano, Alain Pâris, Marc Vignal...

L Homme

Titre : L Homme
Auteur :
Éditeur :
ISBN-13 : UOM:39015064848578
Libération : 2006

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A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de L Homme Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.

Livres hebdo

Titre : Livres hebdo
Auteur :
Éditeur :
ISBN-13 : UOM:39015063381522
Libération : 2005

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A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Livres hebdo Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.

The Jungle Book

Titre : The Jungle Book
Auteur : Rudyard Kipling
Éditeur :
ISBN-13 : UOM:39015015357935
Libération : 1920

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Rudyard Kipling A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de The Jungle Book Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.

Thinking in Jazz

Titre : Thinking in Jazz
Auteur : Paul F. Berliner
Éditeur : University of Chicago Press
ISBN-13 : 0226044521
Libération : 2009-10-05

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A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.

Lexicon of Musical Invective

Titre : Lexicon of Musical Invective
Auteur : Nicolas Slonimsky
Éditeur : W. W. Norton & Company
ISBN-13 : 039332009X
Libération : 2000

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"A supermarket tabloid of classical music criticism."—From the new foreword by Peter Schickele.

Play it Again Cover Songs in Popular Music

Titre : Play it Again Cover Songs in Popular Music
Auteur : Professor George Plasketes
Éditeur : Ashgate Publishing, Ltd.
ISBN-13 : 9781409494003
Libération : 2013-01-28

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Covering—the musical practice of one artist recording or performing another composer's song—has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.

Beyond the Score

Titre : Beyond the Score
Auteur : Nicholas Cook
Éditeur : Oxford University Press
ISBN-13 : 9780199357406
Libération : 2014-02

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In Beyond the Score: Music as Performance, author Nicholas Cook supplants the traditional musicological notion of music as writing, asserting instead that it is as performance that music is loved, understood, and consumed. This book reconceives music as an activity through which meaning is generated in real time, as Cook rethinks familiar assumptions and develops new approaches. Focusing primarily but not exclusively on the Western 'art' tradition, Cook explores perspectives that range from close listening to computational analysis, from ethnography to the study of recordings, and from the social relations constructed through performance to the performing (and listening) body. In doing so, he reveals not only that the notion of music as text has hampered academic understanding of music, but also that it has inhibited performance practices, placing them in a textualist straightjacket. Beyond the Score has a strong historical emphasis, touching on broad developments in twentieth-century performance style and setting them into their larger cultural context. Cook also investigates the relationship between recordings and performance, arguing that we do not experience recordings as mere reproductions of a performance but as performances in their own right. Beyond the Score is a comprehensive exploration of new approaches and methods for the study of music as performance, and will be an invaluable addition to the libraries of music scholars-including musicologists, music theorists, and music cognition scholars-everywhere.


Titre : Coverscaping
Auteur : Asbjørn Grønstad
Éditeur : Museum Tusculanum Press
ISBN-13 : 9788763507745
Libération : 2010-01-01

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Focusing on the semiotics, poetics, and rhetoric of album covers, "Image-Music-Text" gives a serious study of this neglected art form. Working from the assumption that record sleeves may be found to represent a visual genre in its own right, the essays in this book engage in various ways with the analysis of what one might call the pictorial component of recorded music. The contributions from scholars in many different fields run the whole gamut from close readings of individual covers to more theoretical or philosophical explorations of the aesthetic nature and artistic value of album covers.