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New musical figurations: Anthony Braxton's cultural critique
Ronald Michael Radano
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Frontmatter
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List of Illustrations (page ix)
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Acknowledgments (page xi)
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A Note on Sources and Methods (page xv)
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1 Introduction: A New Musical Balance (page 1)
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2 Chicago as Aesthetic Center (page 28)
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3 Musical Assertions of Black Identity (page 77)
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4 New Musical Convergences: Paris and New York (page 140)
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5 Defining a Black Vanguard Aesthetic (page 180)
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6 Black Experimentalism as Spectacle (page 238)
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Epilogue: Jazz Recast (page 269)
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Appendix A Picture Titles of Compositions Cited (page 277)
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Appendix B Recordings Cited/Anthony Braxton on Record (page 285)
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Music Index (page 297)
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General Index (page 301)
Journal Abbreviation | Label | URL |
---|---|---|
MT | 135.1817 (Jul. 1994): 455-456 | http://www.jstor.org/stable/1003259 |
JAMS | 49.2 (Summer 1996): 326-331 | http://www.jstor.org/stable/831993 |
JAH | 82.1 (Jun. 1995): 369-370 | http://www.jstor.org/stable/2082162 |
NOT | 52.1 (Sep. 1995): 77-80 | http://www.jstor.org/stable/898801 |
RAH | 23.1 (Mar. 1995): 91-97 | http://www.jstor.org/stable/2703242 |
AM | 17.2 (Summer 1999): 205-215 | http://www.jstor.org/stable/3052715 |
Citable Link
Published: c1993
Publisher: The University of Chicago Press
- 9780226701943 (ebook)
- 9780226701967 (paper)
- 9780226701950 (hardcover)