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Nadine Jansen, a flugelhornist and pianist, remembers a night in the 1940s when a man came out of the audience as she was playing both instruments. "I hate to see a woman do that," he explained as he hit the end of her horn, nearly chipping her tooth. Half a century later, a big band named Diva made its debut in New York on March 30, 1993, with Melissa Slocum on bass, Sue Terry on alto sax, Lolly Bienenfeld on trombone, Sherrie Maricle on drums, and a host of other first rate instrumentalists. The band made such a good impression that it was immediately booked to play at Carnegie Hall the following year. For those who had yet to notice, Diva signaled the emergence of women musicians as a significant force in jazz. Madame Jazz is a fascinating invitation to the inside world of women in jazz. Ranging primarily from the late 1970s to today's vanguard of performance jazz in New York City and on the West Coast, it chronicles a crucial time of transition as women make the leap from novelty acts regarded as second class citizens to sought-out professionals admired and hired for their consummate musicianship. Author Leslie Gourse surveys the scene in the jazz clubs, the concert halls, the festivals, and the recording studios from the musicians' point of view. She finds exciting progress on all fronts, but also lingering discrimination. The growing success of women instrumentalists has been a long time in coming, she writes. Long after women became accepted as writers and, to a lesser extent, as visual artists, women in music--classical, pop, or jazz--faced the nearly insuperable barrier of chauvinism and the still insidious force of tradition and habit that keeps most men performing with the musicians they have always worked with, other men. Gourse provides dozens of captivating no-holds-barred interviews with both rising stars and seasoned veterans. Here are up-and-coming pianists Renee Rosnes and Rachel Z., trumpeter Rebecca Coupe Frank, saxophonist Virginia Mayhew, bassist Tracy Wormworth, and drummer Terri Lynne Carrington, and enduring legends Dorothy Donegan, Marian McParland and Shirley Horne. Here, as well, are conversations with three pioneering business women: agent and producer Helen Keane, manager Linda Goldstein, and festival and concert producer Cobi Narita. All of the women speak insightfully about their inspiration and their commitment to pursuing the music they love. They are also frank about the realities of life on the road, and the extra dues women musicians pay in a tough and competitive field where everybody pays dues. A separate chapter offers a closer look at women musicians and the continual stress confronting those who would combine love, marriage, and/or motherhood with a life in music. Madame Jazz is about the history that women jazz instrumentalists are making now, as well as an inspiring preview of the even brighter days ahead. It concludes with Frankie Nemko's lively evaluation of the West Coast jazz scene, and appends the most comprehensive list ever assembled of women currently playing instruments professionally..

Women jazz musicians --- Jazz --- Jazz musicians --- Women musicians --- History and criticism. --- 815 --- History and criticism --- Jazz en lichte muziek - Monografieën componisten en uitvoerders

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Depuis le dix-huitième siècle, les philosophes français ont généralement cessé de disputer de musique, et Marcel Beaufils, tout près de nous, devait occuper une position unique, partagée avec Vladimir Jankélévitch. Philosophe, il le fut, mais plus encore poète, esthéticien, musicologue, en toutes choses amoureux émerveillé de son sujet. Il entretenait des rapports très cordiaux avec Villa-Lobos qu'il avait rencontré dans les années vingt. Arrivant à Rio en 1953, Marcel Beaufils fit preuve de sa perspicacité coutumière pour se mettre à observer, à l'écoute de la terre qui avait si fiévreusement inspiré le compositeur. En ethnomusicologue, il présentait quelque parenté avec Claude Lévi-Strauss, mais avec un emballement romantique qui donne tant d'attrait au ruissellement d'impressions qu'il décrit, européen soudainement confronté aux dimensions, à l'effervescence d'un pays neuf à ses yeux. Sa démarche reste précieuse à plus d'un titre. Pour la première fois en France, un ouvrage contient de précieuses notations sur le folklore brésilien, lié à l'histoire, aux traditions des peuples en présence, tandis que les analyses d'œuvres ne sont plus circonscrites aux seules limites techniques, mais aussi sensibles, traversées de notations poétiques, de visions fulgurantes suggérées par les détours capricieux d'un discours musical au contraste permanent. Inimitables, la phrase, le style de Marcel Beaufils participent à un immense brassage d'impressions, déjà sonorités en elles-mêmes, donnant irrésistiblement envie de connaître les œuvres évoquées. Heitor Villa-Lobos était un enchanteur, un montreur de merveilles que Marcel Beaufils tente de nous faire admirer d'un peu plus près.

526 --- Monografieën componisten en uitvoerders --- Composers --- Villa-Lobos, Heitor. --- Lobos, Heitor Villa --- -Robosu, Eitoru Vira --- -Vila Lobos, Ėĭtor --- Vila-Lobos, Heitor --- Villa-Lobos, Ė. --- Villa-Lobos, H. --- Villa Lobos, Hector --- Villa-Lobos, Heitor, --- Villalobos, Heitor --- Vira-Robosu, Eitoru --- 78.21.1 Villa-Lobos --- musique (histoire et critique) --- biographie --- compositeurs

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Horace Silver is one of the last giants remaining from the incredible flowering and creative extension of bebop music that became known as "hard bop" in the 1950's. This freewheeling autobiography of the great composer, pianist, and bandleader takes us from his childhood in Norwalk, Connecticut, through his rise to fame as a musician in New York, to his comfortable life "after the road" in California. During that time, Silver composed an impressive repertoire of tunes that have become standards and recorded a number of classic albums. Well-seasoned with anecdotes about the music, the musicians, and the milieu in which he worked and prospered, Silver's narrative-like his music-is earthy, vernacular, and intimate. His stories resonate with lessons learned from hearing and playing alongside such legends as Art Blakey, Charlie Parker, and Lester Young. His irrepressible sense of humor combined with his distinctive spirituality make his account both entertaining and inspiring. Most importantly, Silver's unique take on the music and the people who play it opens a window onto the creative process of jazz and the social and cultural worlds in which it flourishes. Let's Get to the Nitty Gritty also describes Silver's spiritual awakening in the late 1970's. This transformation found its expression in the electronic and vocal music of the three-part work called The United States of Mind and eventually led the musician to start his own record label, Silveto. Silver details the economic forces that eventually persuaded him to put Silveto to rest and to return to the studios of major jazz recording labels like Columbia, Impulse, and Verve, where he continued expanding his catalogue of new compositions and recordings that are at least as impressive as his earlier work.

Pianists --- Jazz musicians --- Silver, Horace, --- 526 --- Monografieën componisten --- 20th century american culture. --- 20th century american music history. --- african american culture. --- african american music. --- american composer. --- american jazz pianist. --- american music history. --- art blakey. --- artists. --- autobiography. --- bandleader. --- bands. --- bebop. --- blues. --- bop music. --- charlie parker. --- entertainment. --- gospel music. --- hard bop. --- jazz music. --- jazz. --- lester young. --- music arranger. --- music. --- musicians. --- performing arts. --- record label. --- rhythm and blues. --- silverto. --- singers. --- spiritual awakening. --- spirituality. --- the united states of mind.

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Jones gives an account of the individual works of J.S. Bach. Divided into two parts, this volume takes account of the remarkable advances in Bach scholarship. Each part deals with four categories of composition: large-scale keyboard works preludes, fantasias, and fugues; organ chorales; and cantatas.

526 --- Composers --- Music --- Musical analysis --- Compositeurs --- Musique --- Analyse musicale --- Biography --- History and criticism --- Biographies --- Histoire et critique --- Bach, Johann Sebastian, --- Criticism and interpretation. --- Songwriters --- Musicians --- History. --- Bach, Johann Sebastian --- Bach, Jean-Sébastien --- Monografieën componisten en uitvoerders --- Bakh, Iogann Sebastian, --- Bakh, Y. S., --- Bach, Jean Sébastien, --- Bach, G. S., --- Bach, Jan Sebastian, --- Bachas, J. S., --- Bach, J. S. --- Bahs, Johans Sebatjans, --- Pa-ha, Te, --- Bakh, Ĭ. S. --- Bakh, Ĭokhan Sebastian, --- Bach, Joh. Seb. --- Bakh, Yohan Sebasṭyan, --- Bach, Iohann Sebastian, --- Bahha, J. S., --- Bahha, Yohan Sebasutian, --- Bach, I. S., --- Bach, Juan S., --- Bach, John Sebastian, --- Bach, Giovanni Sebastiano, --- באך, יוהן סבסטיאן