Note: Contents: v. 1 A-fuzz - v. 2 Gabler-Niewood - v. 3 Nightclubs-Zwingenberger , Includes bibliographical references and discography , Previous ed.: published in 2 v. London : Macmillan, 1988 , Erschienen: Vol. 1-3

Note: Erschienen: 1 - 24

Note: Free speech, blasphemy, and secular criticism , Religious reason and secular affect : an incommensurable divide? , The sensibility of critique : response to Asad and Mahmood , Reply to Judith Butler , Response to Judith Butler

Note: Includes bibliographical references and index. , Enth.: Durkheimian anthropology and religion : going in and out of each other's bodies. Why religion is nothing special but is central. Truth and sight : generalizing without universalizing. Teknonymy and the evocation of the "social" among the Zafimaniry of Madagascar. Is there religion in Çatalhöyük or just houses?. Types of shared doubt in the flow of a discussion. Toward a cognitive anthropology grounded in field work : the example of "theory of mind". Levi-Strauss as an evolutionary anthropologist.

Note: Titel ist im Rahmen der Initiative Knowledge Unlatched frei zugänglich.

Note: Literaturverz. S. [255] - 272

Note: "The term 'flow' refers to experiences where the musician moves into a consciousness in which time seems to be suspended and perception of reality is blurred by unconscious forces. An essential part of the jazz tradition, which often serves as the foundation of the musician's identity, flow is recognised within the greater jazz community as a critical factor in accomplished musicianship. Flow as a concept is so deeply embedded in the scene that these experiences are not generally discussed. It contributes to the musicians' work motivation, providing a vital level of satisfaction and accomplishment. The power of the experience, consciously or unconsciously, has given rise to the creation of heroic images, in which jazz musicians are seen as being bold, yet vulnerable, strong and masculine, but still capable of expressing emotions. In this discourse, musicians are pictured as people constantly putting themselves on the line, exposing themselves and their hearts to one another as well as to the audience. Heroic profiles are richly constructed within the jazz scene, and their incorporation into narratives of flow suggests that such images are inseparable from jazz. It is thus unclear how far the musicians are simply reporting personal experience as opposed to unconsciously perpetuating a profoundly internalised mythology. Drawing on eighteen interviews conducted with professional jazz musicians from around the world, Elina Hytönen examines the fundamentals of the phenomenon of flow in jazz that has led to this genre's popularity. Furthermore, she draws on how flow experiences are viewed and constructed by jazz musicians, the meanings they attach to it, and the quality of music that it inspires

Note: Includes bibliographical references and index

Note: Literaturverzeichnis Seite [247]-270

Note: Forthcoming publication , Previous edition: Upper Saddle River, N.J.: Prentice Hall, 2011. , Includes ebook access.

Note: Includes bibliographical references and index.

Note: Literaturverzeichnis Seite: 179-189 , Englisch edition first published in 2012 by Berg, reprinted by Bloomsbury Academic 2013, ©2012 Bennet and Hodkinson

Note: Literaturverzeichnis: Seite 249-257

Note: Translated from the French.

Note: Includes index

Note: Biogr. Index der Musiker S. 254 - 260. - Diskogr. S. 264 - 265. - Literaturverz. S. 266

Note: Mit einem Vorwort zur Neuauflage 1990

Note: Literatur- und Quellenverz. S. 121 - 130

Note: Includes bibliographical references (pages 225-226) and index

Note: Focusing on a diverse and eclectic scene that is under-documented, this dissertation investigates the historical, social, and cultural aspects of jazz and improvised music in Vienna over the last four decades. Through fieldwork, the author has observed various characteristics and trends regarding the jazz and improvised music scene in Vienna and have subsequently organized the musicians and their recordings into seven fluid "fields": Traditional-U.S. Performance, Post-Tradition, DJ/Hip-Hop, Volk/Ethnic, Cabaret, Unclassified, and Abroad. One of the most striking aspects of the entire scene is the near-absence of a racialized discourse among musicians and critics and of stereotypical markers of "blackness" in performance. Moreover, the absence of an African-descendent population in Austria, due to the country's near-lack of a colonial history, distinguishes it from the U.S.'s jazz context. Even without a colonial history, one of the common threads throughout Austria's history is cultural mixture (Brook-Shepherd 1996) due to its geographic location and its propensity to merge with its neighbors through marriage rather than might. Additionally, Austria's jazz scene had no need to resist a U.S. - model of jazz performance practice, while other jazz scenes in Europe and around the world struggled to "be free of America" (Atkins 2001). Therefore, the construction of jazz and improvised music in Vienna is better seen as a process of cultural layering, rather than the more familiar process of signifying (Gates 1988) in the United States. Finally, most jazz and improvised music is performed without a driving rhythm. I highlight these and other aspects of Vienna's scene by examining recordings by Mathias Ruegg, Franz Koglmann, Wolfgang Mitterer, Clemens Salesny, Franz Hautzinger, and others , Microfilm copy available in Microforms under year and author

Note: Literaturangaben

Note: Literaturverz. S. 259 - 281

Note: Includes bibliographical references and index

Note: Includes bibliographical references (pages 231-244) and index , Lubbock or leave it , Lubbock or leave it , Joan Baez , From Roger and out into dang me/chug a lug , Midnight in Memphis with the wicked Pickett , Jackson C. Frank , What time has told me about Nick Drake's Five leaves left , The voice of the quiet one , That's it , New York Dolls , Warren Zevon , Chasing after vengeance , Steve Forbert, alive on arrival from Meridian to Manhattan , Ready for the house , Rickie Lee Jones , Metallica kills , I know someday you'll have a beautiful life , Leann Rimes blue , Third Eye Blind , Dap-dippin' independent tradition , Pilfering the past or postmodern punks? , Cinematic fantastic sampledic funky found sound sifting , Good time rollers , Joan Baez , From Roger and out into dang me/chug a lug , Midnight in Memphis with the wicked Pickett , Jackson C. Frank , What time has told me about Nick Drake's Five leaves left , The voice of the quiet one , That's it , New York Dolls , Warren Zevon , Chasing after vengeance , Steve Forbert, alive on arrival from Meridian to Manhattan , Ready for the house , Rickie Lee Jones , Metallica kills , I know someday you'll have a beautiful life , Leann Rimes blue , Third Eye Blind , Dap-dippin' independent tradition , Pilfering the past or postmodern punks? , Cinematic fantastic sampledic funky found sound sifting

Note: Includes index

Note: Zusätzliches Online-Angebot unter DOI 10.1007/978-3-658-03209-8 , Deutsch

Note: Includes bibliographical references, discographies, and index.

Note: Includes index. , Also issued online.

Note: Includes bibliographical references (pages 301-317) and index

Note: Bibliogr. p. 175. - Discogr. p. 172 - 175. - Webliogr., 1 p.

Note: Literaturangaben

Note: Literaturangaben

Note: Includes bibliographical references and index.

Note: Literaturverzeichnis Seite 159-167

Note: Includes bibliogr. references and index