03102nam 2200637 a 450 991110399560332120251116230607.01-281-37824-097866113782401-84800-157-610.1007/978-1-84800-157-2(CKB)1000000000492191(EBL)371819(OCoLC)272298689(SSID)ssj0000154493(PQKBManifestationID)11179391(PQKBTitleCode)TC0000154493(PQKBWorkID)10408554(PQKB)11233597(DE-He213)978-1-84800-157-2(MiAaPQ)EBC371819(Au-PeEL)EBL371819(CaPaEBR)ebr10501579(CaONFJC)MIL137824(PPN)127047077(EXLCZ)99100000000049219120080122d2008 uy 0engur|n|---|||||txtccrField guide to meteors and meteorites /O. Richard Norton, Lawrence A. Chitwood1st ed. 2008.London Springerc20081 online resource (292 p.)Patrick Moore's practical astronomy series,1617-7185Includes indexes.1-84800-156-8 pt. 1. Ancient fragments of the solar system -- pt. 2. The family of meteorites -- pt. 3. Collecting and analyzing meteorites.Imagine the unique experience of being the very first person to hold a newly-found meteorite in your hand – a rock from space, older than Earth! "Weekend meteorite hunting" with magnets and metal detectors is becoming ever more popular as a pastime, but of course you can’t just walk around and pick up meteorites in the same way that you can pick up seashells on the beach. Those fragments that survived the intense heat of re-entry tend to disguise themselves as natural rocks over time, and it takes a trained eye – along with the information in this book – to recognize them. Just as amateur astronomers are familiar with the telescopes and accessories needed to study a celestial object, amateur meteoriticists have to use equipment ranging from simple hand lenses to microscopes to study a specimen, to identify its type and origins. Equipment and techniques are covered in detail here of course, along with a complete and fully illustrated guide to what you might find and where you might find it. In fact, the Field Guide to Meteors and Meteorites contains pretty much everything an amateur astronomer – or geologist – needs to know about meteors and meteorites.Patrick Moore's practical astronomy series.MeteorsAstrogeologyMeteors.Astrogeology.523.51Norton O. Richard1941211Chitwood Lawrence A1941212MiAaPQMiAaPQMiAaPQBOOK9911103995603321Field guide to meteors and meteorites4694384UNINA04512nam 2200757 a 450 991113517310332120251116145443.0978661275904897812827590461282759043978052092840405209284079781597349970159734997610.1525/9780520928404(CKB)1000000000008494(EBL)223040(OCoLC)54663323(SSID)ssj0000270677(PQKBManifestationID)11209948(PQKBTitleCode)TC0000270677(PQKBWorkID)10281640(PQKB)11184728(MiAaPQ)EBC223040(DE-B1597)521084(DE-B1597)9780520928404(Au-PeEL)EBL223040(CaPaEBR)ebr10050795(CaONFJC)MIL275904(Perlego)552184(EXLCZ)99100000000000849420010725d2002 uy 0engurcn|||||||||txtccrWhat is this thing called jazz? African American musicians as artists, critics, and activists /Eric Porter1st ed.Berkeley, Calif. University of California Pressc20021 online resource (442 p.)Music of the African diaspora ;6Description based upon print version of record.9780520218727 0520218728 9780520232969 0520232968 Includes bibliographical references (p. 337-382) and index.A marvel of paradox : jazz and African American modernity -- Dizzy atmosphere : the challenge of bebop -- Passions of a man : the poetics and politics of Charles Mingus -- Straight ahead : Abbey Lincoln and the challenge of jazz singing -- Practicing "creative music" : the black arts imperative in the jazz community -- Writing "creative music" : theorizing the art and politics of improvisation -- The majesty of the blues : Wynton Marsalis's jazz canon.Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920's and 1930's; the emergence of bebop; the political and experimental projects of the 1950's, 1960's and 1970's; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.Music of the African diaspora ;6.JazzHistory and criticismAfrican American jazz musiciansAfrican AmericansIntellectual life20th centuryJazzHistory and criticism.African American jazz musicians.African AmericansIntellectual life781.65/089/96073Porter Eric(Eric C.)707262MiAaPQMiAaPQMiAaPQBOOK9911135173103321What is this thing called jazz4869854UNINA