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100%: Saul, Scott: Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (ISBN: 9780674043107) 2009, in Englisch, auch als eBook.Nur diese Ausgabe anzeigen…
100%: Scott Saul: Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (ISBN: 9780674018532) 2005, Harvard University Press, Vereinigte Staaten von Amerika, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties
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1
Freedom Is, Freedom Ain`t
~EN NW EB DLISBN: 9780674043107 bzw. 0674043103, vermutlich in Englisch, Harvard University Press, neu, E-Book, elektronischer Download.
Lieferung aus: Deutschland, Versandkostenfrei.
Freedom Is, Freedom Ain`t: In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach`s Freedom Now Suite, John Coltrane`s A Love Supreme, and Charles Mingus`s The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain`t is the first book to tell the broader story of this period in jazz--and American--history. Englisch, Ebook.
Freedom Is, Freedom Ain`t: In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach`s Freedom Now Suite, John Coltrane`s A Love Supreme, and Charles Mingus`s The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain`t is the first book to tell the broader story of this period in jazz--and American--history. Englisch, Ebook.
2
Freedom Is, Freedom Ain't
EN NWISBN: 9780674043107 bzw. 0674043103, in Englisch, Harvard University Press, neu.
Lieferung aus: Deutschland, sofort lieferbar.
2009, Englisch, In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
2009, Englisch, In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
3
FREEDOM IS, FREEDOM AIN'T
EN NW EB DLISBN: 9780674043107 bzw. 0674043103, in Englisch, Thomas Nelson, neu, E-Book, elektronischer Download.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, Despatched same working day before 3pm.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound.The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture.Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound.The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture.Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
4
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties
~EN NWISBN: 9780674018532 bzw. 0674018532, vermutlich in Englisch, Harvard University Press, Vereinigte Staaten von Amerika, neu.
Lieferung aus: Kanada, Lagernd, zzgl. Versandkosten.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach''s Freedom Now Suite, John Coltrane''s A Love Supreme, and Charles Mingus''s The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain''t is the first book to tell the broader story of this period in jazz--and American--history.The story''s central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain''t considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music''s marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach''s Freedom Now Suite, John Coltrane''s A Love Supreme, and Charles Mingus''s The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain''t is the first book to tell the broader story of this period in jazz--and American--history.The story''s central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain''t considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music''s marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
5
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties
ENISBN: 9780674018532 bzw. 0674018532, in Englisch, Harvard University Press.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties Saul, Scott, In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's "Freedom Now Suite," John Coltrane's "A Love Supreme," and Charles Mingus's "The Black Saint and the Sinner Lady" was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. "Freedom Is, Freedom Ain't" is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. "Freedom Is, Freedom Ain't" considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties Saul, Scott, In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's "Freedom Now Suite," John Coltrane's "A Love Supreme," and Charles Mingus's "The Black Saint and the Sinner Lady" was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. "Freedom Is, Freedom Ain't" is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. "Freedom Is, Freedom Ain't" considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
6
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (2009)
EN NW EB DLISBN: 9780674043107 bzw. 0674043103, in Englisch, Harvard University Press, Harvard University Press, Harvard University Press, neu, E-Book, elektronischer Download.
Lieferung aus: Vereinigte Staaten von Amerika, zzgl. Versandkosten, Free Shipping on eligible orders over $25.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz—and American—history.The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz—and American—history.The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties.
7
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (2005)
EN PB NWISBN: 9780674018532 bzw. 0674018532, in Englisch, 408 Seiten, Harvard University Press, Taschenbuch, neu.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, loislane29.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties. Paperback, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 2005-11-30, Freigegeben: 2005-09-26, Studio: Harvard University Press, Verkaufsrang: 1363171.
Von Händler/Antiquariat, loislane29.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties. Paperback, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 2005-11-30, Freigegeben: 2005-09-26, Studio: Harvard University Press, Verkaufsrang: 1363171.
8
Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (2005)
EN PB USISBN: 9780674018532 bzw. 0674018532, in Englisch, 408 Seiten, Harvard University Press, Taschenbuch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, Green_Earth_Books.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties. Paperback, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 2005-11-30, Freigegeben: 2005-09-26, Studio: Harvard University Press, Verkaufsrang: 1363171.
Von Händler/Antiquariat, Green_Earth_Books.
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history. The story's central figures are jazz musicians like Coltrane and Mingus, who rewrote the conventions governing improvisation and composition as they sought to infuse jazz with that gritty exuberance known as "soul." Scott Saul describes how these and other jazz musicians of the period engaged in a complex cultural balancing act: utopian and skeptical, race-affirming and cosmopolitan, they tried to create an art that would make uplift into something forceful, undeniable in its conviction, and experimental in its search for new possibilities. Freedom Is, Freedom Ain't considers these musicians and their allies as a cultural front of the Civil Rights movement, a constellation of artists and intellectuals whose ideas of freedom pushed against a cold-war consensus that stressed rational administration and collective security. Capturing the social resonance of the music's marriage of discipline and play, the book conveys the artistic and historical significance of the jazz culture at the start, and the heart, of the sixties. Paperback, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 2005-11-30, Freigegeben: 2005-09-26, Studio: Harvard University Press, Verkaufsrang: 1363171.
9
Freedom is, Freedom Ain't
EN NWISBN: 9780674018532 bzw. 0674018532, in Englisch, Harvard University Press, Vereinigte Staaten von Amerika, neu.
Lieferung aus: Deutschland, zzgl. Versandkosten, Versandfertig in 1 - 2 Wochen.
Jazz and the Making of the Sixties, Mining the rich history of jazz for source material, the author shows how the music transcended its own definitions in the 1960s by pushing the boundaries of improvisation and participating in the cultural and political foment of the era. (Performing Arts).
Jazz and the Making of the Sixties, Mining the rich history of jazz for source material, the author shows how the music transcended its own definitions in the 1960s by pushing the boundaries of improvisation and participating in the cultural and political foment of the era. (Performing Arts).
10
Freedom is, Freedom Ain't
EN NWISBN: 9780674018532 bzw. 0674018532, in Englisch, Harvard University Press, Vereinigte Staaten von Amerika, neu.
Lieferung aus: Schweiz, zzgl. Versandkosten, Versandfertig innert 3 Wochen.
Jazz and the Making of the Sixties, Mining the rich history of jazz for source material, the author shows how the music transcended its own definitions in the 1960s by pushing the boundaries of improvisation and participating in the cultural and political foment of the era. (Performing Arts).
Jazz and the Making of the Sixties, Mining the rich history of jazz for source material, the author shows how the music transcended its own definitions in the 1960s by pushing the boundaries of improvisation and participating in the cultural and political foment of the era. (Performing Arts).
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