LEADER 04035 am 2200853 n 450 001 9910350193003321 005 20190603 010 $a2-85892-569-0 024 7 $a10.4000/books.msha.15581 035 $a(CKB)4100000009845467 035 $a(FrMaCLE)OB-msha-15581 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/60159 035 $a(PPN)241656109 035 $a(EXLCZ)994100000009845467 100 $a20191114j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aStructures $eCampus Talence-Pessac-Gradigan /$fClaire Parin, Jacques Robert, Hocine Aliouane-Shaw 210 $aPessac $cMaison des Sciences de l?Homme d?Aquitaine$d2019 215 $a1 online resource (178 p.) 311 $a2-85892-405-8 330 $aEst-il possible, aujourd?hui, de penser l?urbain en termes de projet ? Dans un climat d?incertitude, une attitude consiste à comprendre le projet d?architecture et de paysage comme une ouverture au devenir du réel et à en faire, dans le cadre d?une école, un outil de réflexion et d?innovation en prise directe sur la complexité des enjeux urbains. Répondant à la sollicitation de l?Université de Bordeaux engagée depuis 2009 dans la mise en ?uvre de l?Opération Campus sur les sites universitaires de l?agglomération bordelaise, l?atelier campus de l?ensapBx est un lieu de recherche et d?expérimentation. Il se veut force de proposition autour de la vie du campus, de tout ce qu?elle pourrait être, et du lien qui reste à penser et à construire entre les différents temps des utilisateurs de l?Université. La collection ABC - Atelier Bordeaux Campus - se fixe comme objectif de diffuser régulièrement les recherches produites dans le cadre de l?atelier campus. Le premier volume, Structures, restitue une exploration du potentiel de renouvellement et de recyclage des formes bâties à différentes échelles sur le territoire du campus Talence Pessac Gradignan (TPG). L?occasion de jeter les bases d?un « code » de l?espace tel qu?Henri Lefebvre l?appelait de ses v?ux, soit d?un langage commun à là pratique et à la théorie, aux habitants, aux architectes, aux scientifiques. 606 $aUrban Studies 606 $aurbanisme 606 $aarchitecture 606 $apaysage 606 $acampus universitaire 606 $avie du campus 606 $aprojet 610 $acampus universitaire 610 $avie du campus 610 $aurbanisme 610 $aprojet 610 $apaysage 610 $aarchitecture 615 4$aUrban Studies 615 4$aurbanisme 615 4$aarchitecture 615 4$apaysage 615 4$acampus universitaire 615 4$avie du campus 615 4$aprojet 700 $aAliouane-Shaw$b Hocine$01287730 701 $aBalhadère$b Vincent$01287731 701 $aBondon$b Christopher$01287732 701 $aChevalard$b Thibaud$01287733 701 $aCuland$b Pierre$01287734 701 $aDuolé$b Igor$01287735 701 $aEllie$b Timothée$01287736 701 $aElluin$b Stanislas$01287737 701 $aFeaugas$b Marie$01287738 701 $aGermain$b Alix$01287739 701 $aJolly$b Nicolas$01287740 701 $aJunkwang$b Kim$01287741 701 $aKeulers$b Perrin$01287742 701 $aLakhdar$b Omar$01287743 701 $aLaneau$b Erwann$01287744 701 $aLudovici$b Chiara$01287745 701 $aMahadoo$b Vikesh$01287746 701 $aParin$b Claire$01241702 701 $aPuel$b Arnaud$01287747 701 $aRobert$b Jacques$0425177 701 $aTuñón de Lara$b Manuel$01286565 701 $aParin$b Claire$01241702 701 $aRobert$b Jacques$0425177 701 $aAliouane-Shaw$b Hocine$01287730 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910350193003321 996 $aStructures$93020353 997 $aUNINA LEADER 05662nam 2201273Ia 450 001 9910786967803321 005 20230126210343.0 010 $a1-4008-4648-X 024 7 $a10.1515/9781400846481 035 $a(CKB)2670000000367971 035 $a(EBL)1144310 035 $a(OCoLC)847526698 035 $a(SSID)ssj0000888152 035 $a(PQKBManifestationID)12319017 035 $a(PQKBTitleCode)TC0000888152 035 $a(PQKBWorkID)10847476 035 $a(PQKB)11607278 035 $a(MiAaPQ)EBC1144310 035 $a(StDuBDS)EDZ0001752265 035 $a(MdBmJHUP)muse43351 035 $a(DE-B1597)453912 035 $a(OCoLC)979758557 035 $a(DE-B1597)9781400846481 035 $a(Au-PeEL)EBL1144310 035 $a(CaPaEBR)ebr10718662 035 $a(CaONFJC)MIL496458 035 $a(EXLCZ)992670000000367971 100 $a20130327d2013 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aShaping jazz$b[electronic resource] $ecities, labels, and the global emergence of an art form /$fDamon J. Phillips 205 $aCore Textbook 210 $aPrinceton, NJ $cPrinceton University Press$d2013 215 $a1 online resource (233 p.) 300 $aDescription based upon print version of record. 311 $a0-691-15088-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction. Sociological Congruence and the Shaping of Recorded Jazz --$tChapter 1. The Puzzle of Geographical Disconnectedness --$tChapter 2. Further Exploring the Salience of Geography --$tChapter 3. Sociological Congruence and the Puzzle of Early German Jazz --$tChapter 4. Sociological Congruence and Record Company Comparative Advantage --$tChapter 5. The Sociological Congruence of Record Company Deception --$tChapter 6. The Sociological Congruence of Identity Sequences and Adoption Narratives --$tChapter 7. Pulling It Together and Stretching It Beyond --$tAppendix --$tNotes --$tReferences --$tIndex 330 $aThere are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920's to early 1930's, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, Shaping Jazz offers a unique look at the origins of a groundbreaking art form. 606 $aJazz$xSocial aspects 606 $aJazz$xHistory and criticism 610 $aAfrican Americans. 610 $aBerlin. 610 $aGerman jazz. 610 $aMilenburg Joys. 610 $aNew York. 610 $aVictorian-era firms. 610 $aWeimar Germany. 610 $aadoption narratives. 610 $aanti-jazz sentiments. 610 $aauthenticity. 610 $ablack musicians. 610 $abottled water. 610 $aconsumers. 610 $acritics. 610 $acultural elites. 610 $acultural markets. 610 $acultural objects. 610 $acultural products. 610 $adiffusion. 610 $adiscographical canon. 610 $adisconnected cities. 610 $adisconnectedness. 610 $ageographic mobility. 610 $ageography. 610 $agreen technology. 610 $aidentity sequences. 610 $aidentity threats. 610 $aidentity. 610 $aincumbents. 610 $ajazz music. 610 $ajazz recordings. 610 $ajazz standards. 610 $ajazz. 610 $alegitimacy. 610 $amarkets. 610 $amobility networks. 610 $amusicians. 610 $ananotechnology. 610 $aorganizational role identities. 610 $aproduct appeal. 610 $aproduction. 610 $apseudonyms. 610 $arace. 610 $are-recording. 610 $areception. 610 $arecord company deception. 610 $arecord company. 610 $arecord labels. 610 $arecording industry. 610 $arecording location. 610 $asocial congruence. 610 $asocial systems. 610 $asociological congruence. 610 $asoftware. 615 0$aJazz$xSocial aspects. 615 0$aJazz$xHistory and criticism. 676 $a781.6509 700 $aPhillips$b Damon J.$f1968-$01529546 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786967803321 996 $aShaping jazz$93773876 997 $aUNINA