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000437995 010__ $$z  2011008369
000437995 020__ $$a9781139091213 (electronic bk.)
000437995 020__ $$z9781107005051
000437995 035__ $$a(OCoLC)ocn742513738
000437995 035__ $$a(CaPaEBR)ebr10476494
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000437995 043__ $$an-us---
000437995 05014 $$aML3477$$b.S35 2011eb
000437995 08204 $$a781.6409/041$$222
000437995 1001_ $$aSchleifer, Ronald.
000437995 24510 $$aModernism and popular music$$h[electronic resource] /$$cRonald Schleifer.
000437995 260__ $$aCambridge ;$$aNew York :$$bCambridge University Press,$$c2011.
000437995 300__ $$a1 online resource (xx, 233 p.):$$bill., music
000437995 504__ $$aIncludes bibliographical references and index.
000437995 5058_ $$aMachine generated contents note: Preface; Introduction: popular music and the experience of modernism; Part I. Musical Modernism: Popular Music in the Time of Jazz: 1. Classical modernity and popular music; 2. Twentieth-century modernism and 'jazz' music; Part II. Gershwin, Porter, Waller, and Holiday: 3. Melting pot and meeting place: the Gershwin brothers and the arts of quotation; 4. 'What is this thing called love?': Cole Porter and the rhythms of desire; 5. Signifying music: Fats Waller and the time of jazz; 6. Music without composition: Billie Holiday and ensemble performance; Postscript: popular music and the revolution of the word; Bibliography; Index.
000437995 506__ $$aAccess limited to authorized users.
000437995 520__ $$a"Traditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether"--$$cProvided by publisher.
000437995 588__ $$aDescription based on print version record.
000437995 60010 $$aGershwin, George,$$d1898-1937$$xCriticism and interpretation.
000437995 60010 $$aHoliday, Billie,$$d1915-1959$$xCriticism and interpretation.
000437995 60010 $$aPorter, Cole,$$d1891-1964$$xCriticism and interpretation.
000437995 60010 $$aWaller, Fats,$$d1904-1943$$xCriticism and interpretation.
000437995 650_0 $$aModernism (Music)
000437995 650_0 $$aPopular music$$zUnited States$$xHistory and criticism.
000437995 650_0 $$aJazz$$xHistory and criticism.
000437995 77608 $$iPrint version:$$aSchleifer, Ronald.$$tModernism and popular music.$$dCambridge ; New York : Cambridge University Press, 2011$$z9781107005051$$w(DLC) 2011008369$$w(OCoLC)699759480
000437995 8520_ $$bacq
000437995 85280 $$bebk$$hProQuest Ebook Central
000437995 85280 $$bebk$$hProQuest Ebook Central Academic Complete
000437995 85640 $$3ProQuest Ebook Central$$uhttps://univsouthin.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/usiricelib-ebooks/detail.action?docID=713070$$zOnline Access
000437995 85640 $$3ProQuest Ebook Central Academic Complete$$uhttps://univsouthin.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/usiricelib-ebooks/detail.action?docID=713070$$zOnline Access
000437995 909CO $$ooai:library.usi.edu:437995$$pGLOBAL_SET
000437995 980__ $$aEBOOK$$aEBOOK
000437995 980__ $$aBIB
000437995 982__ $$aEbook
000437995 983__ $$aOnline