...Morris Freedman Copyright © 1952 by Duke University Press 1952 JAZZ RHYTHMS AND T. S. ELIOT Morris Freedman ELIOT, remarked Edmund Wilson, fears vulgarity at the same time that he is fascinated by it. One of the signs of Eliot s fascination is his attempt to capture the rhythm and quality...

...: University of Chicago Press, 2000 , 459 –80. Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States . New York: Oxford University Press, 1979 . ———. Latin Jazz: The First of the Fusions, 1880s to Today . New York: Schirmer Books, 1999 . Washburne, Chris...

... to individuation and measure, and beyond the instrumentalities to which music itself is often submitted. We do so by thinking about how jazz—where it takes on the improvisatory character of the busker, rehearsal, or jam—becomes a form of love. We consider the song as an expression of antagonism that the song...

... 3 and exoticized by white men and women alike Here Gray draws atten- tion to how thinking about jazz has created blackness, or race, as a metalan- 4 guage through which gender, specifically the feminine, drops out of view. Men’s experiences within jazz culture, as performers, producers...

... something The South Atlantic Quarterly 90:4, Fall 1991. Copyright © 1991 by Duke University Press, ccc 0038-2876/9150. 754 David R. Shumway rock & roll is to distinguish it from other forms such as jazz, clas­ sical, or country, but to attribute nothing very definite to it. More significant, however...

.... The United States is too close to Mexico to shut its eyes to these condi­ tions. The murderers of Mrs. Evans are still unpunished. J. Fred Rippy. So This Is Jazz. By Henry O. Osgood. Boston: Little, Brown, and Company, 1926. viii + 258 pp. Jazz has already created some stir and not a little noise...

... W. Adorno took issue with Benjamin s invest­ ment in Disney, both in direct correspon­ dence and implicitly, in his writings on jazz and, after his friend s death, in the analysis of the culture industry in his and Max Horkheimer s Dialectic of Enlightenment. These scattered references to Disney...

... musical traditions, especially jazz (e.g., the virtually single-handed revival of ragtime and promotion of its performer-exponent Eubie Blake by the New England Conservatory s Gunther Schuller). Country music, however, has not enjoyed this attention, largely because of the stigma of its hillbilly...

... Rimbaud. Invented poems extemporaneously; only started writing them down at wife s insistence. Knew all the jazz greats; Mingus loved him; the quintessential jazz poet. These phrases have worked their way from his immediate circle into dictionaries of literary biography, re­ cent eulogies, brief...

... this en­ tropy model to explain the broad cultural acceptance of jazz (presumably during the Swing Era). Dick Hebdige, in Subculture: The Meaning of Style, a now classic study of punk culture, relies on it too. What Simon Frith and Andrew Goodwin call a theory of progress by attrition is, perhaps...

... quickly. Nevertheless, most of the major changes have occurred in the last twenty-five years. Before the mid1960s, most engineers and producers, especially those working with jazz and classical artists, regarded their job as capturing a live sound, as simply recording (reproducing) the sound the musicians...

... profitable son, guarachas, Nueva Trova, jazz, boleros, or any other music apart from rock.1 The bands that were emerg­ ing by then lacked the quality of their predecessors; enthusiasm began to wane, opportunities to play rock were disappearing, and the means for spreading the music and anything...

... a book entitled Jazz Men: Masculine Dif- ference, Race, and the Emotions in 1950s America and is coediting a collec- tion of essays on jazz and gender. Rustin is a research assistant professor at the University of Illinois at Urbana-Champaign, where she teaches African American cultural history...

... century. Using his slide bar to sculpt and color horn-like melodic phrases, with apparent influences from the French gypsy jazz guitarist Django Reinhardt and the leading black jazz hornmen of the day, Dunn created a revolutionary electric guitar sound that was so utterly idiosyncratic he seems to have...

... is currently completing Drifting on a Read, 940 Notes on Contributors an investigation of jazz as a model of rhetorical invention ( euretics alan light is a Staff Writer at Rolling Stone, where he has written about virtually every major figure in the world of hip-hop. A 1988 graduate of Yale University, he...

.... Jazz and jazzmen, often American blacks, were popular imports. Foreign movies played regularly in German theaters. The folk culture so praised, usually from a distance, by urban­ ized intellectuals and semi-intellectuals with their roots in the youth and Volkisch movements, faced competition from...

... jazz audiences; even rock fans, for all their enthusi­ asm, usually hang on every note of a live performance. Although I realize how singer- and lyric-centered country music is, the dismis­ sive response at the Ryman to the contribution of the instrumental­ ists was striking nonetheless...

... view of culture involves a refined sensibility that must be learned and earned. Rock courses are still waging the same struggle for acceptance that jazz studies faced on their way to becoming standard offerings, and facing the same prejudices that view popular as synonymous with cheap, crude...

... on the history of music theory and analysis, Music Theory and Musical Thought: From Zarlino to Gottfried Weber His work in music theory, jazz per- formance, and Latin music in the U.S. diaspora has appeared in Music Theory Spectrum...

... with their skyscrapers, the surprising violence and furor of the boxing ring, jazz, an American idiom all this com­ bined with the appeal of the wide-open American spaces. The coun­ try became a symbol of adventure and expansion of crowded stockyards, railroad tracks, and abundant money, food, and energy. One thinks...