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x | |
Preface and Acknowledgements |
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xii | |
Introduction: The Persistence of Authenticity |
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1 | (14) |
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11 | (2) |
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13 | (2) |
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1 The Challenge of the Past: Jazz, Parody, and Jazz Discourse |
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15 | (40) |
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They Brainwash and Teach You Hate: From Parody to Protest |
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17 | (5) |
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It Ain't Necessarily So: From Caricature to Celebration |
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22 | (17) |
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In a Sentimental Mood: From Ridicule to Romanticism |
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39 | (9) |
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48 | (7) |
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2 A Few of My Favorite Things: Analyzing Jazz, Interpreting Irony, Assessing Value |
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55 | (40) |
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"Saying Something": Coltrane, Irony, and "My Favorite Things" |
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56 | (3) |
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"White Things," Black Things, and a Few Other Things |
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59 | (6) |
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"Undeniable Qualities": Homage, Value-For, and Ideological Hegemony |
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65 | (8) |
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"Myriad Subtleties," Bebop Parody, and the Question of Context |
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73 | (6) |
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"We're in the Money": Irony, Complexity, and Social Normativity |
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79 | (10) |
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89 | (6) |
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3 My Only Sunshine: Jazz, Country Music, George Russell, and Musical Meaning |
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95 | (46) |
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Way Out West: From Cowhand Sonny to Dangerous Davey |
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96 | (10) |
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Cowboy Favorites: Jazz Meets Country Music |
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106 | (8) |
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You Arc My Sunshine: From Singing Cowboys to Gassed Soulsters |
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114 | (4) |
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Happy Endings: George Russell Meets "You Are My Sunshine" |
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118 | (12) |
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Sunshine Redux: From Kiddies Songs to Kitchen Appliances |
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130 | (7) |
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137 | (4) |
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4 Divine Revelations: Keith Jarrett, Acoustic Authenticity, and Romantic Genius |
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141 | (50) |
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Fun with Toys: Miles, Electricity, and Acoustic Relief |
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142 | (8) |
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A Blazing Forth of a Divine Will: Blank Slates, Claptrap, and Eniphysemic Goats |
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150 | (5) |
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Body and Soul: Sacred Space, the State of Grace, and Everyday Ecstasy |
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155 | (6) |
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Blessed with Genius: The Flame Itself, the Man from Porlock, and the Heavenly Ostrich |
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161 | (5) |
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Play On, Play On: Robert Bly, the Wild Man, and the Neglected Male Psyche |
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166 | (8) |
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Touch the Soil: Elemental Instruments, Indian Country, and the Noble Savage |
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174 | (10) |
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184 | (7) |
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5 The Body Electric: Music, Machines, and Mechanical Reproduction |
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191 | (52) |
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I Sing the Body Electric: Aesthetic Materialism, Technological Humanism, and Electrical Grandmothers |
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192 | (8) |
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Spark of Being: Frankenstein, Electricity, and the Merging of Text and Form |
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200 | (12) |
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Undervaluing Overdubbing: Jazz, Spontaneity, and Recording Studio Trickery |
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212 | (9) |
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Essential and Divine: Faithful Fidelity, Analogue Authenticity, and "exactly what was played" |
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221 | (9) |
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Preserving Spontaneity: Free Improvisation, Live Performance, and the Paradox of Sound Recording |
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230 | (7) |
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237 | (6) |
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6 Can Blue Men Sing the Whites? African American Exceptionalism, European Stereotypes, and the Jazz Studies Debate |
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243 | (98) |
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Getting to Know You: The "Afrological," the "Eurological," and the Illogical |
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245 | (4) |
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The Anxiety of Affluence: Race, Class, and European "Privilege" |
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249 | (8) |
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A Pan-European Conspiracy? Cultural Nationalism, Nativist Politics, and Foreign Competitors |
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257 | (7) |
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The Emancipation Problem: African American Models and German Belligerents |
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264 | (3) |
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A Delicate, Nuanced Approach? Humour, Improvisation, and Composer-Centred Music |
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267 | (14) |
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Networks of Power: Whiteness, Erasure, and World Harmony |
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281 | (3) |
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Postscript: Say It Loud, I'm British and I'm Proud |
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284 | (2) |
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286 | (9) |
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295 | (22) |
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317 | (20) |
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337 | (4) |
Index |
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341 | |