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FRANCIS André
Jazz.
Seuil. 1958. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 190p, illustré de photos noir et blanc hors texte, quelques pages crayonnées.. . . . Classification Dewey : 781.65-Jazz
Reference : RO20013247
Collection Solfèges+ bibliographie.Histoire du Jazz. Classification Dewey : 781.65-Jazz
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5 book(s) with the same title
Jazz 2. - New York, Kansas, Grands orchestres et grands soliste (1925-1950), Middle Jazz l"époque Swing.
Paris: Ecole des Loisirs, 1970. in-12, 190 pages, photos noir et blanc, broche, couverture illustree.
Bel exemplaire. [TX-13]
Cinema Changes: Incorporations of Jazz in the Film Soundtrack
, Brepols, 2019 Hardback, xxvi + 334 pages, Size:210 x 260 mm, Illustrations:35 b/w, 26 musical examples, Language: English. ISBN 9782503584478.
Summary Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new "multimedia" art form, soon incorporating music as one of cinema's privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music - in various form and with diverse and changing racial/social connotations - appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level. TABLE OF CONTENTS Emile Wennekes - Emilio Audissino Prologue: A Reel Jazz Survey Rendition / Reception Emile Wennekes Out of Tune? Jazz, Film and the Diegesis Phillip Johnston Jazzin' the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film Luca Stoll Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards Marida Rizzuti Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s Randall Cherry Ethel Waters and the Search for Racial Redemption Jazz and National Cinemas Emilio Audissino The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study Nicolas Pillai Rhythms of the Everyday: an Alternative History of the British Jazz Film Philippe Gonin Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s? Julio Arce - Celsa Alonso From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War Roberto Calabretto Jazz Music in Michelangelo Antonioni's Films Willem Strank When Jazz Meets German Cinema: A Brief Overview Jason R. Hillebrand A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows Case Studies Francesco Finocchiaro - Leo Izzo The Sound of the Nightmares: On the Jazz Music in Fritz Lang's Metropolis Ryan Patrick Jones Dignity in the Twilight of Minstrelsy: Race, Nuance, and Aspiration in Duke Ellington's Symphony in Black: A Rhapsody of Negro Life Adam Biggs The Blues and Dissonance in Michelangelo Antonioni's Blow-Up Armando Ianniello Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio '70 Marcel Bouvrie Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Nondiegetic Music in Whiplash Mervyn Cooke 'The Same Goddamn Songs the Same Goddamn Way'? Makin' Whoopee with The Fabulous Baker Boys Abstracts Biographies Index of Names
La bataille du jazz - Collection Aujourd'hui - ce qu'est le jazz : les noirs, les racistes et les progressistes, le jazz une pulsation, un langage , le blues, l'essence du jazz - l'essor du jazz en france, naissance du pseudo jazz progressiste, le bop...
ALBIN MICHEL. 1965. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos plié, Quelques rousseurs. 220 PAGES + 8 planches photos en noir/blanc - mors et coiffe de tête frottés. . . . Classification Dewey : 781.65-Jazz
SOMMAIRE : ce qu'est le jazz : les noirs, les racistes et les progressistes, le jazz une pulsation, un langage , le blues, l'essence du jazz - l'essor du jazz en france, naissance du pseudo jazz progressiste, le bop n'est pas du jazz, campagne contre les jazzmen, jazz musique du peuple noir, ... Classification Dewey : 781.65-Jazz
SOUVENIRS A BOUT PORTANT. Poesie - Barreau - Jazz.
Charleroi, Institut Jules Destree, 1979. in-8°, 187 pp., planches en noir et blanc, broche, couverture illustree.
Bon etat [NAN-3][CA26/2]
De la Bamboula au Be-Bop. Esquisse de lEvolution de la musique de Jazz.
Paris, Ed. de la Main Jetee, 1951. Hardcover in-12, 193 pages, cartonnage pleine toile de bibliotheque, couverture collee au 1er plat.
Très bel exemplaire (marques de bibliotheque) [TX-11]
