Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude

Total Page:16

File Type:pdf, Size:1020Kb

Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -Class -Classic - Classical - ClassicalCrossover - ClassicalPop - ClassicJazz - Club/Dance - CollegeRock - Comedy -ComedyRap - ComedyRock - ComputerMusic - ContemporaryBlues -ContemporaryCeltic - ContemporaryCountry - ContemporaryFolk - ContemporaryGospel - ContemporaryInstrumental - ContemporaryJazz - ContemporaryJazz - ContemporaryR&B - ContemporaryReggae - ContemporarySinger/Songwriter - ContinentalJazz - Cowboy - Country - Country - Country - CountryBlues - CountryComedy - CountryGospel -Country Pop - Country Soul - Creole - CrossoverJazz - Cuba -CubanJazz - CubanJazz - CubanPop -Dance - Dance -Pop Electronica - Dancehall - DarkAmbient - DeathMetal/BlackMetal - DeepFunk - DeepSoul - DeltaBlues - DetroitBlues - DetroitRock -DetroitTechno - DirtyRap - DirtySouth - Disco - Dixieland - DixielandRevival - DooWop - Downbeat -Downtempo - DreamPop - Dub -Dub - EarlyCreative - EarlyBritishPop/Rock - EastCoastBlues - EastCoastRap - Easy - EasyListening - EasyPop - ElectricBlues - ElectricChicago -ElectricDeltaBlues - ElectricHarmonicaBlues - ElectricMemphisBlues - ElectricTexasBlues -Electro - Electro - Electronic -England - FreeImprovisation - Ethnic - EthnicFusion - Euro -Dance -Euro-Rock - Europe - EuropeanFolk - Exotica - Experimental - ExperimentalAmbient -ExperimentalBigBand - ExperimentalDub - ExperimentalElectro - ExperimentalJungle -ExperimentalRock - ExperimentalTechno - Fado -FemaleBlues - FilmMusic -FingerPickedGuitar - Flamenco - Folk -Folk - Folk Jazz - Folk Pop - Folk Rock - FolkRevival - Folksongs - ForeignLanguageRock - France - FreeFunk - FreeJazz - Freestyle - FrenchPop - FrenchRock -Funk - FunkMetal - FunkyBreaks - Fusion - G-Funk - GangstaRap -Garage/House - GaragePunk - GarageRock -GardeJazz -Germany - GirlGroup - GlamRock - Glitch - Glitter - GoldenAge - Gospel - GothRock - Greece - Grunge - GuitarVirtuoso - Gypsy - HairMetal - HappyHardcore - HardBop - HardcorePunk -HardcoreRap - HardcoreTechno - HardRock - HarmonyVocalGroup -Hawaii - Folk - HeavyMetal -HeartlandRock - Hi - Highlife - HipHop - HonkyTonk -House -House - Hungary - IDM - India - IndianClassical - IndieElectronic - IndiePop - IndieRock -Industrial - IndustrialMetal - Inspirational - InstrumentalPop - InstrumentalRock - Cool - Illbient -Israel -Ireland - IrishFolk -ItalianFolk - ItalianPop - Italy -Jamaica - JamBands -JanglePop - Japan - Jazz - Jazz - JazzBlues - Jazz Funk - JazzPop - Jazz Rap - Jazz Rock - JesusRock - Jive - JumpBlues - Jungle/Drum'NBass -Kei - KrautRock - L.A.Punk - Latin - LatinContinuum - LatinDance - LatinFolk - LatinJazz - LatinPop - LatinRap - LatinSoul - Left -FieldHouse - Lo-Fi - LouisianaBlues - Lounge - LoversRock - M-Base - Madchester - Mali - Mambo Drill'n'bass - MainstreamJazz - MemphisBlues - MemphisSoul - Merengue - Merseybeat -Metal - Mexico - Microhouse - MiddleEast - Minimalism - MinimalTechno - MixedMedia - Mod - ModalMusic - ModernAcousticBlues -ModernComposition - ModernCreative - ModernElectricBlues - ModernElectricChicagoBlues - ModernElectricTexasBlues - MoodMusic - ModRevival - Motown - MovieThemes - MPB - Musette - Musicals - MusicalTheater - NashvilleSound/Countrypolitan - Nationalist - Neo - Neo - Neo-Bop - NeoClassical -Neo ClassicalMetal - NeoElectro - Neo -Glam - Neo Prog - NeoPsychedelia -Netherlands -NewAge -NewAge - NewAge - NewOrleansBlues - NewOrleansJazz - NewOrleansR&B - NewRomantic -NewJackSwing - NewWave - NewWaveofBritishHeavyMetal - NewZealandRock - NewYorkBlues - NewYorkPunk - NewYorkSalsa - Noise - NoisePop - NoiseRock -Nostalgia -NorthernSoul - Novelty - NoWave -NRG - NuBreaks - NuevaCancion - Obscuro - OldSchoolRap - Oi! - OutlawCountry - Opera -Oratories - OrchestralJazz - OrchestralPop - OriginalScore - PaisleyUnderground - PartyRap - PartySoca - PianoBlues - PhillySoul - Poetry - Pop - Pop -Pop -Pop Industrial - Pop Metal - Pop Rap -PopRock - Pop Soul -Pop Standards - PopUnderground - PoliticalFolk - PoliticalReggae - PoliticalRap - PostBop - PostGrunge -PostHardcore - PostPunk -Post RockExperimental - PowerPop - PowerMetal - PrewarBlues - Prog -ProgressiveBigBand - ProgressiveBluegrass - ProgressiveCountry - ProgressiveElectronic - ProgressiveFolk -ProgressiveHouse - ProgressiveMetal - ProgressiveTrance - Proto-Punk - Psychedelic - PsychedelicPop -PsychedelicSoul - PubRock -Punk -Punk - PunkMetal - Punk Pop - PunkRevival - QuietStorm - R&B - Ragga - Ragtime -Rap - Rap - Rap Rock - Rave - Reggae - Reggae - Retro Soul - RetroSwing -Rock -Rock -Rock - Rock&Roll -Rock/ArtRock - Rockabilly - RockabillyRevival - RockenEspañol - Rocksteady - Romantic -RootsReggae - RootsRock - Sadcore -Sahel - Salsa - Scotland - Shibuya -Shoegaze - ShowTunes -Singer/Songwriter - Ska - Ska - SkaRevival - Skiffle - SlideGuitarBlues - Slowcore -SmoothJazz - SmoothReggae - SmoothSoul - Soca - SocialCommentary - SoftRock - Son - SongParody - Sophisti Pop - Soul -Soul - Soul Blues - Soul Jazz - Soundtrack - Soundtracks - SoundArt - SouthernGospel - SouthernRap - SouthernSoul - SouthernRock - Space - SpaceRock - SpeedMetal - Spokn - Spirituals - SpyMusic - StandupComedy - Stoner Metal - Stride - StructuredImprovisation - Sufi - Sunshine - Surf - SwampBlues - Sweden -SwedishPop/Rock - SweetBands - Swing -SynthPop - Tech House -Techno -Techno - Techno - TechnoBass - TechnoTribal - TeenIdol -TeenPop -Tejano -TelevisionMusic -TelevisionSoundtracks - TexasBlues - ThirdWaveSkaRevival - Thrash - TinPanAlleyPop - TorchSongs - Traditional - TraditionalCountry - TraditionalFolk -TraditionalFolk - TraditionalGospel - TraditionalIrishFolk - TradJazz - Trance - Tribal House - Trinidad - Trip-Hop - Trova - Tropical - Turntablism - TVSoundtrack - TweePop -UndergroundRap - UnitedStatesofAmerica - UptownSoul - Urban -UrbanBlues - UrbanCowboy - Vocal - VocalJazz -VocalPop - Vocalese - WestCoastBlues - WestCoastJazz - WestCoastRap - WestAfrican -Women - World - Worldbeat -WorldFusion - Zydeco Die Liste erhebt keinen Anspruch auf vollständigkeit..
Recommended publications
  • Music-Week-1993-05-0
    4 Morechoice 8 Town crier 10 Wisdom Kenyon'smaintain vowR3's to Take This Town Vintage comic is musical range visitsCroydon the streets active Marketsurprise Preview star of ■ ^ • H itmsKweek For Everyone in the Business of Music 1 MAY 1993 £2.65 iiistargetCO mftl17 Adestroy forced the eut foundationsin CD prices ofcould the half-hourtives were grillinggiven a lastone-and-a- week. wholeliamentary music selectindustry, committee the par- MalcolmManaging Field, director repeating hisSir toldexaraining this week. CD pricing will be reducecall for dealer manufacturers prices by £2,to twoSenior largest executives and two from of the "cosy"denied relationshipthat his group with had sup- a thesmallest UK will record argue companies that pricing in pliera and defended its support investingchanges willin theprevent new talentthem RichardOur Price Handover managing conceded director thatleader has in mademusic. the UK a world Kaufman adjudicates (centre) as Perry (left) and Ames (right) head EMI and PolyGram délégations atelythat his passed chain hadon thenot immedi-reduced claimsTheir alreadyarguments made will at echolast businesspeople rather without see athose classical fine Tradingmoned. has also been sum- industryPrivately profitability. witnesses who Warnerdealer Musicprice inintroduced 1988. by Goulden,week's hearing. managing Retailer director Alan of recordingsdards for years that ?" set the stan- RobinTemple Morton, managing whose director label othershave alreadyyet to appearedappear admit and managingIn the nextdirector session BrianHMV Discountclassical Centre,specialist warned Music the tionThe was record strengthened companies' posi-last says,spécialisés "We're intrying Scottish to put folk, out teedeep members concem thatalready the commit-believe lowerMcLaughlin prices saidbut addedhe favoured HMV thecommittee music against industry singling for outa independentsweek with the late inclusionHyperion of erwise.music that l'm won't putting be heard oth-out CDsLast to beweek overpriced, committee chair- hadly high" experienced CD sales.
    [Show full text]
  • Master Thesis the Changes in the Dutch Dance Music Industry Value
    Master thesis The changes in the Dutch dance music industry value chain due to the digitalization of the music industry University of Groningen, faculty of Management & Organization Msc in Business Administration: Strategy & Innovation Author: Meike Biesma Student number: 1677756 Supervisor: Iván Orosa Paleo Date: 11 May 2009 Abstract During this research, the Dutch dance music industry was investigated. Because of the changes in the music industry, that are caused by the internet, the Dutch dance music industry has changed accordingly. By means of a qualitative research design, a literature study was done as well as personal interviews were performed in order to investigate what changes occurred in the Dutch dance music industry value chain. Where the Dutch dance music industry used to be a physical oriented industry, the digital music format has replaced the physical product. This has had major implications for actors in the industry, because the digital sales have not compensated the losses that were caused by the decrease in physical sales. The main trigger is music piracy. Digital music is difficult to protect, and it was found that almost 99% of all music available on the internet was illegal. Because of the decline in music sales revenues, actors in the industry have had to change their strategies to remain profitable. New actors have emerged, like digital music retailers and digital music distributors. Also, record companies have changed their business model by vertically integrating other tasks within the dance music industry value chain to be able to stay profitable. It was concluded that the value chain of the Dutch dance music industry has changed drastically because of the digitalization of the industry.
    [Show full text]
  • Steve Cropper | Primary Wave Music
    STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band.
    [Show full text]
  • 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off the Record26
    Goddard Out At Kiss 4 GEMA Fees Up12% 5 8LJAIJ/1 Victoires Mull Changes 6 New Italian Dance Chart 7 Special: Jazz10 Off The Record26 Europe's Music Radio Newsweekly . Volume 8 . Issue 24 . June 15, 1991. 3, US$ 5, ECU 4 New Feature: RESEARCH BIDDING POOL GROWS M&M Debuts Nielsen To Bid For Jazz Page Jazz followers get a double treat Radio Contract this week in M&M, as we high- our media research resources here light the world of jazz music (see by Hugh Fielder page11)andlauncha new and we have also submitted an monthly page covering the jazz US broadcast research firm A. C. application for the JICNAR read- radio and record industries (see Nielsen has thrown its hat into ership contract." Last year the page 10). the ring for the new joint inde- company vied unsuccessfully for Coordinated by M&M chart pendent radio/BBC audience the BARB TV audience survey. reports manager and jazzafi- research contract (RAJAR). Nielsen joins a growing list of cionado Terry Berne, this new Nielsen UK media sales exec- biddersfortheproject. A monthly page will include airplay utive Lisa Rudman confirms, spokesperson for RSGB, which reports from jazz stations/presen- "We shall definitely be in the run- currently holds the JICRAR con - ters, Top 20 album sales,the THE BEST OF FRIENDS - Old friends Cliff Richard and popular ning. We have been building up (continueson page26) Most -PlayedAlbums,reviews, Yugoslav singer Alexander Mezek relax with Phonogram executives after station/presenterprofiles,label performing their single "To A Friend" (Mercury) on Germany's most popu- marketing/promotion activities, lar game show "Wetten Dass".
    [Show full text]
  • Memphis Electronic Music: Finding Soul in the Age of Lifeless Machines Marcus Tate Rhodes College, Class of 2019 Rhodes Institut
    Memphis Electronic Music: Finding Soul in the Age of Lifeless Machines Marcus Tate Rhodes College, Class of 2019 Rhodes Institute for Regional Studies Advisor: Dr. John Bass From a very young age, I had a very intimate relationship with music. I would always listen to many different genres like classical and film music to trap and R&B. After listening to so much music, it instantly grew my desire to create music myself. However, when you come from a poor family like myself, the options to create music are severely limited, even if you come from Memphis, the capital city of blues and soul. For a long time, many of the options to create music in Memphis could only be used by the people who could afford the instruments and instruction or people who knew others who could afford these things. However, there are many ways that people can use tools to create music, most of which can be done with little expense. What I wish to argue with my project is if it is possible to create inexpensive tools that create music, how Memphians create their own tools to create music, and should these tools can be called “musical instruments” like the music instruments we have today. Building a synthesizer will help me answer this question because it allows me to demonstrate that musical instruments can be made with little money and little experience in electronics. It also allows me to present how this synthesizer is just as much of tool for creating music as the musical instruments that we have today and present the history of how these present day musical instruments first began as just tools.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
    Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters.
    [Show full text]
  • “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
    “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Robert Glasper's In
    ’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • I S C O R D E R Free
    I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag­ azine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS­ CORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicit­ ed drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC.
    [Show full text]