LEADER 01653nam 2200373Ia 450 001 996387388303316 005 20200818221050.0 035 $a(CKB)4940000000084689 035 $a(EEBO)2240924094 035 $a(OCoLC)ocm24351658e 035 $a(OCoLC)24351658 035 $a(EXLCZ)994940000000084689 100 $a19910910d1618 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 10$aBy the Queene$b[electronic resource] $eforasmuch as the Queenes Maiestie our soueraigne ladie is crediblie enformed that the infection of the plague is at this present in sundry places in & about the citie of London ... Her Maiestie for the sayde necessarie consyderations ... is pleased and contented to adiourne the sayde terme of Saint Michael .. 210 $a[London] $cImprinted at London in Powles Churchyarde by Richard Iugge and Iohn Cawood [i.e. B. Norton and J. Bill] ... $d[ca. 1618] 215 $a1 broadside 300 $aSecond part of title from first 12 lines of text. 300 $aPublishers and date of imprint suggested by STC (2nd ed.). 300 $a"Gyuen at our manour of Reading, the xxiiii. day of September, in the twelth yere of her Maiesties raigne." 300 $aReproduction of original in the Harvard University. Library. 330 $aeebo-0062 606 $aProclamations$zGreat Britain 607 $aGreat Britain$xHistory$yElizabeth, 1558-1603 615 0$aProclamations 701 $aElizabeth$cQueen of England,$f1533-1603.$0996842 801 0$bEBL 801 1$bEBL 801 2$bWaOLN 906 $aBOOK 912 $a996387388303316 996 $aBy the Queene$92299089 997 $aUNISA LEADER 05177nam 2200997 a 450 001 9910783293903321 005 20230607215052.0 010 $a1-282-75904-3 010 $a9786612759048 010 $a0-520-92840-7 010 $a1-59734-997-6 024 7 $a10.1525/9780520928404 035 $a(CKB)1000000000008494 035 $a(EBL)223040 035 $a(OCoLC)54663323 035 $a(SSID)ssj0000270677 035 $a(PQKBManifestationID)11209948 035 $a(PQKBTitleCode)TC0000270677 035 $a(PQKBWorkID)10281640 035 $a(PQKB)11184728 035 $a(MiAaPQ)EBC223040 035 $a(DE-B1597)521084 035 $a(DE-B1597)9780520928404 035 $a(Au-PeEL)EBL223040 035 $a(CaPaEBR)ebr10050795 035 $a(CaONFJC)MIL275904 035 $a(EXLCZ)991000000000008494 100 $a20010725d2002 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWhat is this thing called jazz?$b[electronic resource] $eAfrican American musicians as artists, critics, and activists /$fEric Porter 210 $aBerkeley, Calif. $cUniversity of California Press$dc2002 215 $a1 online resource (442 p.) 225 1 $aMusic of the African diaspora ;$v6 300 $aDescription based upon print version of record. 311 $a0-520-21872-8 311 $a0-520-23296-8 320 $aIncludes bibliographical references (p. 337-382) and index. 327 $aA 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. 330 $aDespite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920's and 1930's; the emergence of bebop; the political and experimental projects of the 1950's, 1960's and 1970's; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black. 410 0$aMusic of the African diaspora ;$v6. 606 $aJazz$xHistory and criticism 606 $aAfrican American jazz musicians 606 $aAfrican Americans$xIntellectual life$y20th century 610 $a1920s. 610 $a1930s. 610 $aafrican american musicians. 610 $aafrican american. 610 $aamerican music. 610 $aanthony braxton. 610 $ablack artists. 610 $ablack musicians. 610 $aclass. 610 $acultural studies. 610 $aduke ellington. 610 $aessay collection. 610 $aexperimental jazz. 610 $aexperimental music. 610 $agender. 610 $ajazz music. 610 $ajazz musicians. 610 $alouis armstrong. 610 $amarion brown. 610 $amusic analysis. 610 $amusic genres. 610 $amusic history. 610 $amusic theory. 610 $amusical. 610 $amusicians. 610 $asocial class. 610 $asocial studies. 615 0$aJazz$xHistory and criticism. 615 0$aAfrican American jazz musicians. 615 0$aAfrican Americans$xIntellectual life 676 $a781.65/089/96073 700 $aPorter$b Eric$g(Eric C.)$0707262 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910783293903321 996 $aWhat is this thing called jazz$93757382 997 $aUNINA