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Leonard Bernstein and the Language of Jazz By Katherine A. Baber. Urbana: University of Illinois Press, 2019.

Published online by Cambridge University Press:  02 March 2022

Lee Caplan
Lee Caplan*
Affiliation:
Department of Music, University of Pittburgh, Pittsburgh, Pennsylvania, USA
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Abstract

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Type
Book Review
Information
Journal of the Society for American Music , Volume 16 , Issue 1 , February 2022 , pp. 115 - 117
Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press on behalf of the Society for American Music

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References

1 Leonard Bernstein, “The Absorption of Race Elements into American Music” (B.A. thesis, Harvard University, 1939).

2 Hersch, Charles, Jews and Jazz: Improvising Ethnicity (New York: Routledge, 2017)Google Scholar.

3 Davis, Angela, Blues Legacies and Black Feminism: Gertrude Ma Rainey, Bessie Smith, and Billie Holiday (London: Knopf Doubleday Publishing Group, 1999)Google Scholar.

4 Goehr, Lydia, “Political Music and the Politics of Music,” The Journal of Aesthetics and Art Criticism 52, no. 1 (Winter 1994): 99–112CrossRefGoogle Scholar.

5 Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 2013)Google Scholar.

6 Tucker, Sherrie, “When Did Jazz Go Straight?: A Queer Question for Jazz Studies,” Critical Studies in Improvisation 4, no. 2 (2008): 1–16Google Scholar.

7 Wilson, Rachel Beckles, Orientalism and Musical Mission: Palestine and the West (Cambridge: Cambridge University Press, 2013)CrossRefGoogle Scholar.

8 Kramer, Lawrence, Music as Cultural Practice, 1800–1900 (Berkeley: University of California Press, 1993)Google Scholar. Nattiez, Jean Jacques, Music and Discourse: Toward a Semiology of Music (Princeton: Princeton University Press, 1990)Google Scholar.