In 1941 Thelonious Monk and Kenny Clarke copyrighted "Epistrophy," one of the best-known compositions of the bebop era. The song's title refers to a literary device-the repetition of a word or phrase at the end of successive clauses-that is echoed in the construction of the melody. Written two decades later, Amiri Baraka's poem "Epistrophe" alludes slyly to Monk's tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black ...
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In 1941 Thelonious Monk and Kenny Clarke copyrighted "Epistrophy," one of the best-known compositions of the bebop era. The song's title refers to a literary device-the repetition of a word or phrase at the end of successive clauses-that is echoed in the construction of the melody. Written two decades later, Amiri Baraka's poem "Epistrophe" alludes slyly to Monk's tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art. Epistrophies explores this fertile interface through case studies in jazz literature-both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson's vernacular transcriptions to Sun Ra's liner note poems, from Henry Threadgill's arresting song titles to Nathaniel Mackey's "Song of the Andoumboulou," there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music. At times this results in art that gravitates into multiple media. In Duke Ellington's "social significance" suites, or in the striking parallels between Louis Armstrong's inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique-and uniquely African American-sphere of art-making and performance.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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New. Contains: Unspecified. Includes unspecified. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Fine. Contains: Unspecified. Includes unspecified. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
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New. Hearing across media is the source of innovation in a uniquely African American sphere of art-making and performance, Brent Hayes Edwards writes. He explores this fertile interface through case studies in jazz literature both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. Num Pages: 320 pages. BIC Classification: DSA. Category: (U) Tertiary Education (US: College). Dimension: 23 x 15...2017. 1st Edition. Hardcover.....We ship daily from our Bookshop.
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Supports Goodwill of Silicon Valley job training programs. The cover and pages are in Good condition! Any other included accessories are also in Good condition showing use. Use can included some highlighting and writing page and cover creases as well as other types visible wear.
