000			03848cam a22003974a 4500
005			20250918172129.0
008			121224s2011 enka b 001 0 eng
020			_a9781107005051 (hbk.) _cRM299.01
020			_a1107005051 (hbk.)
039		9	_a201307301659 _bzaina _c201307231525 _drasyilla _y12-24-2012 _zrasyilla
040			_aDLC _cDLC _dYDX _dBTCTA _dYDXCP _dDEBBG _dIBZ _dBWX _dDLC _dUKM
090			_aML3477.S345
090			_aML3477 _b.S345
100	1		_aSchleifer, Ronald.
245	1	0	_aModernism and popular music / _cRonald Schleifer.
260			_aCambridge, UK : _bCambridge University Press, _c2011.
300			_axx, 233 p. : _bill. ; _c24 cm.
504			_aIncludes bibliographical references (p. 216-225) and index.
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.
520			_a'Introduction: popular music and the experience of modernism This is a book about the'cultural modernism' of the early twentieth century. Part I examines the place of popular music within conceptions of modernism, and Part II examines what I call'the rhythms and semiotics of language and sound' in the music of the Gershwin brothers, Cole Porter, Thomas'Fats' Waller, and Billie Holiday, with occasional references to modernist writers William Butler Yeats, T S. Eliot, Ralph Ellison, William Carlos Williams, Virginia Woolf, and others. The emphasis of Modernism and Popular Music is primarily linguistic or textual in that I am pursuing an account of how a'revolution in words,' as I note in the Conclusion, transformed or marked the ways in which sensibility, mind, belief, perspective, society, economics, and human experience more generally came to be understood in the early twentieth century. I argue, however, that this revolution, which is usually associated with poets, writers, artists, linguists, and philosophers - as well as twentieth-century composers of'art' music - is just as evident, if not more so, in the work of the great songwriters and jazz performers who came to prominence in the United States between the two World Wars'-- _cProvided by publisher.
600	1	0	_aGershwin, George, _d1898-1937 _xCriticism and interpretation.
600	1	0	_aHoliday, Billie, _d1915-1959 _xCriticism and interpretation.
600	1	0	_aPorter, Cole, _d1891-1964 _xCriticism and interpretation.
600	1	0	_aWaller, Fats, _d1904-1943 _xCriticism and interpretation.
650		0	_aModernism (Music)
650		0	_aPopular music _zUnited States _xHistory and criticism.
650		0	_aJazz _xHistory and criticism.
907			_a.b15546846 _b2019-11-12 _c2019-11-12
942			_c01 _n0 _kML3477.S345
914			_avtls003520473
990			_azsz
991			_aInstitut Kajian Etnik
998			_at _b2012-11-12 _cm _da _feng _genk _y0 _z.b15546846
999			_c537643 _d537643