MARC Record from harvard_bibliographic_metadata

LEADER: 03158nam a22003974a 4500
001 013827743-5
005 20131206192745.0
006 m o d
008 120609r20122007pau o d eng d
020 $a9780812201123
020 $z9780812220032
040 $aMdBmJHUP$cMdBmJHUP
043 $an-us---
050 4 $aML3508$b.A53 2007
082 04 $a781.65/5$222
100 1 $aAnderson, Iain,$d1967-
245 10 $aThis is our music$h[electronic resource] :$bfree jazz, the Sixties, and American culture /$cIain Anderson.
260 $aPhiladelphia, Pa. :$bUniversity of Pennsylvania Press,$cc2007$e(Baltimore, Md. :$fProject Muse,$g2012)$e(Baltimore, Md. :$fProject MUSE,$g2013)
300 $a1 online resource (1 electronic text (254 p.) :)$bill., digital file.
490 1 $aArts and intellectual life in modern America
500 $aIssued as part of UPCC book collections on Project MUSE.
504 $aIncludes bibliographical references (p. [227]-237) and index.
505 0 $aIntroduction -- 1. The resurgence of jazz in the 1950s -- 2. Free improvisation challenges the jazz canon -- 3. Free jazz and Black nationalism -- 4. The musicians and their audience -- 5. Jazz outside the marketplace -- Epilogue -- Notes -- Bibliography -- Index -- Acknowledgments.
520 3 $aBy examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. Thus jazz music's performers and supporters - and potentially those in other arts - have both challenged and accommodated themselves to an ongoing process of cultural stratification.
588 $aDescription based on print version record.$aDescription based on print version record.
588 $aDescription based on print version record.
538 $aMode of access: World Wide Web.
650 0 $aBlack Arts movement.
650 0 $aAfrican American jazz musicians.
650 0 $aJazz$xSocial aspects$zUnited States.
650 0 $aFree jazz$zUnited States$xHistory and criticism.
730 0 $aProject Muse UPCC books.$5net
776 08 $iPrint version:$z0812239806$z9780812239805$z9780812220032$w(DLC) 2006048961
830 0 $aArts and intellectual life in modern America.
988 $a20131113
906 $0OCLC