東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

At the Vanguard of Vinyl: A Cultural...

Mueller, Darren.

Linked to FindBook

Google Book

Amazon

博客來

At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz.

Record Type:	Electronic resources : Monograph/item
Title/Author:	At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz./
Author:	Mueller, Darren.
Description:	314 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.
Contained By:	Dissertation Abstracts International76-09A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3689964
ISBN:	9781321696592

At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz.
Mueller, Darren.

At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz. - 314 p.

Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.

Thesis (Ph.D.)--Duke University, 2015.

At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz's relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. Jazz, as an African American social and musical practice, became a form of resistance against the violent structures of institutional racism within the United States in the 1950s.

ISBN: 9781321696592Subjects--Topical Terms:

516178
Music.

At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz.
LDR:02948nmm a2200301 4500 001 2071950
005 20160719071614.5
008 170521s2015 ||||||||||||||||| ||eng d
020 $a 9781321696592
035 $a (MiAaPQ)AAI3689964
035 $a AAI3689964
040 $a MiAaPQ $c MiAaPQ
100 1 $a Mueller, Darren. $3 3187133
245 1 0 $a At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz.
300 $a 314 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-09(E), Section: A.
500 $a Adviser: Louise Meintjes.
502 $a Thesis (Ph.D.)--Duke University, 2015.
520 $a At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz's relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. Jazz, as an African American social and musical practice, became a form of resistance against the violent structures of institutional racism within the United States in the 1950s.
520 $a Using the records of Miles Davis, Duke Ellington, Dizzy Gillespie, and Cannonball Adderley, this study outlines the diverse approaches to record making that characterized the transitional years as the LP became the standard recording format. Through archival research, close listening, and detailed discographical analyses of the era's most influential record labels, I show how jazz practices and musical "mistakes" caught on record provided opportunities for recording experimentation. I examine choices made during the record production process, such as tape edits, microphone placement, overdubbing, and other sound processing effects, connecting such choices to the visual and tactile attributes of these discs. Drawing on scholarship that considers how sound reproduction technologies mediate constructions of race and ethnicity, I argue that the history of jazz in the 1950s is one of social engagement by means of and through technology. At the Vanguard of Vinyl is a cultural history of the jazz LP that underscores the ways in which record making is a vital process to music and its circulation.
590 $a School code: 0066.
650 4 $a Music. $3 516178
650 4 $a African American studies. $3 2122686
650 4 $a American history. $3 2122692
690 $a 0413
690 $a 0296
690 $a 0337
710 2 $a Duke University. $b Music. $3 1026643
773 0 $t Dissertation Abstracts International $g 76-09A(E).
790 $a 0066
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3689964