Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 12Indiana University Press, 1990 |
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Síða 13
... jazz , stressing that the latter had been exposed mainly to the " distortions and degradations " of " commercial counter- feits , ” rather than to " authentic jazz ” ( 246 , 251 ) . What are we to say of someone who sang the praises of ...
... jazz , stressing that the latter had been exposed mainly to the " distortions and degradations " of " commercial counter- feits , ” rather than to " authentic jazz ” ( 246 , 251 ) . What are we to say of someone who sang the praises of ...
Síða 18
... jazz , his underestimation of performance at the expense of composi- tion , his limited exposure to the wide variety of jazz bands , his simplistic schemes of classification ( “ mechanical ” white jazz vs. " primitive " black jazz ) ...
... jazz , his underestimation of performance at the expense of composi- tion , his limited exposure to the wide variety of jazz bands , his simplistic schemes of classification ( “ mechanical ” white jazz vs. " primitive " black jazz ) ...
Síða 47
... jazz therefore presents itself to the dialectician as a puzzle . The clear elements of the material which contribute to the solving of this puzzle are as few as the forms which jazz has cultivated . Much of what is accepted as jazz — at ...
... jazz therefore presents itself to the dialectician as a puzzle . The clear elements of the material which contribute to the solving of this puzzle are as few as the forms which jazz has cultivated . Much of what is accepted as jazz — at ...
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