Pre-1940 Writings
*"About Books, More or Less: In the Matter of Jazz," The New York Times, February 18, 1922
*"About Ragtime," Ragtime Review. August 1916
Adorno, Theodore. "On Jazz" and "Farewell to Jazz" in Essays in Music. Berkeley: University of California Press, 2002, pp. 470-495, 496-500
*Aldrich, Robert. "Drawing a Line for Jazz," New York Times, December 10, 1922 (Reprinted in Koenig 2002)
Altman, Rick. The American Film Musical. Bloomington: Indiana UP, 1989.
Attali, Jacques. Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: U of Minnesota P, 1985.
Baldwin, James. The Devil Finds Work. New York: Dial, 1976
Berg, Charles Merrell. "Cinema Sings the Blues." Cinema Journal 17.2 (1978): 1-12.
------.[as Chuck Berg] "Jazz and Film and Television." The Oxford Companion to Jazz, ed. Bill Kirchner. New York: Oxford UP, 2000. 706-721.
This is list of dissertations on Jazz in Brasil from 1987 to 2007 can be found on the website of CAPES (the Brazilian government agency responsible for funding higher
education).
Central Avenue Bop Bibliography
A resource for “Central Avenue Bop,” by Maxine Gordon
Bryant, Clora, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson, and Marl Young, ed. 1998. Central Avenue Sounds: Jazz in Los Angeles. Berkeley: University of California Press.
Callender, Red & Elaine Cohen. 1985. Unfinished Dream: The Musical World of Red Callender. London: Quartet Books.
Collette, Buddy & Steven Isoardi. 2000. Jazz Generations: A Life in American Music and Society. London: Continuum.
BRAZILIAN MUSIC HISTORY, RHYTHM, AND REPERTOIRE FOR THE JAZZ PRACTITIONER
Course Name: Jazz in Europe - European Jazz
Columbia University, Department of Music
Instructor: Wolfram Knauer, Louis Armstrong Visiting Professor, Spring 2008
Time: Tuesday, Thursday, 2:40pm - 3:55pm
Course Number: 72600
Points: 3 points
Course Type: Lecture / Seminar
Bulletin Description:
Columbia University
English
Spring 2005
This course explores 20th century cultural history through the music, ideas, and image of pianist/composer Thelonious Monk. We are particularly interested in how Monk has been "constructed" by critics, fans, writers, visual artists, the music industry, the media, etc., and how Monk himself helped shape his public image. After all, Monk became a major icon for Beat generation poets, surrealist artists, and emerging avant garde jazz musicians, despite the fact that he neither identified nor engaged these creative artists directly.
Columbia University
Anthropology, African-American Studies, and American Studies
Fall 2005
COURSE REQUIREMENTS
Regular attendance and full participation in the seminar, including a short presentation (15 minutes) in one session
Read the three assigned texts and the xeroxed readings
Write two short papers (3-5 pages)
1) comparing two histories OR two textbooks on jazz chosen from the list on pp. 320-321 of Jazz 101 or in consultation with the instructor
Yale University
Anthropology
Spring 2004
An examination of the new jazz that emerged shortly after the middle of the 20th century. Discussion will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Bley, Albert Ayler, and the Art Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; the accomplishments of the music and the problems it raised for jazz performance and criticism.
