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LEADER 02832cam a2200385 a 4500

001 ocm18671561;

003 OCoLC;

005 20141212095420.0;

008 880218s1988 nyu b s000 0 eng ;

010 a| 88080503;

019 a| 18712377;

020 a| 0914678302q| (paperback);

020 a| 9780914678304q| (paperback);

035 a| (Sirsi) o18671561;

035 a| (OCoLC)18671561;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML3508b| .C64 1988;

082 00 a| 781.65/09732| 20;

100 1 a| Collier, James Lincoln,d| 1928-2024=| ^A10803;

245 14 a| The reception of jazz in America :b| a new view /c| James Lincoln Collier.;

300 a| 95 pages ;c| 22 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| I.S.A.M. monographs ;v| no. 27;

504 a| Includes bibliographical references (pages 78-85).;

520 a| In this book the author debunks two myths which he believes have distorted both the nature of American culture and the process by which jazz evolved from a local New Orleans music into a national and international phenomenon. The first myth is that jazz, a music of the black ghetto, was either ignored or deprecated by the American people, with the exception of a handful of enlightened white critics and musicians. The second myth is that it was first taken seriously by Europeans. The chief topics addressed in the six essays are the favorable reception of jazz, both live and recorded, by some segments of the American listening and dancing public, even from the very beginning; jazz journalism between 1925 and 1940 in both Europe and the United States; the contributions of some early and unjustly forgotten American writers (Abbe Niles, Carl Van Vechten, R. D. Darrell); the works of Robert Goffin and Hugues Panassié; and the actual conditions of the reception of American jazz performers in Europe. The author concludes that there were a great many Americans who liked jazz from the beginning, that the European critics do not deserve their reputation, that the idea that American performers were appreciated more in Europe than in their own country is a case of mass deception, and that the primary responsibility for creating the myth of European priority in the appreciation of jazz was the American political left.;

650 0 a| Jazzx| History and criticism.=| ^A54033;

830 0 a| I.S.A.M. monographs ;v| no. 27.=| ^A56217;

919 a| BOOK;

596 a| 3;

998 a| 463275;

999 a| ML3508 .C64 1988w| LCc| 1i| 30372007037671d| 6/27/2016e| 9/30/1999f| 7/17/2025g| 4l| MCSm| JMUSICn| 7r| Ys| Yt| MCSSBKu| 6/1/1993x| BOOKz| MCIRCo| .STAFF. enhanced 9/27/25 -jjab;

The reception of jazz in America : a new view / James Lincoln Collier.

Author/creator	Collier, James Lincoln
Format	Book
Publication Info	Brooklyn, NY : Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, ©1988.
Description	95 pages ; 22 cm.
Subjects	Jazz--History and criticism.

Series	I.S.A.M. monographs ; no. 27 I.S.A.M. monographs ; no. 27. ^A56217
Abstract	In this book the author debunks two myths which he believes have distorted both the nature of American culture and the process by which jazz evolved from a local New Orleans music into a national and international phenomenon. The first myth is that jazz, a music of the black ghetto, was either ignored or deprecated by the American people, with the exception of a handful of enlightened white critics and musicians. The second myth is that it was first taken seriously by Europeans. The chief topics addressed in the six essays are the favorable reception of jazz, both live and recorded, by some segments of the American listening and dancing public, even from the very beginning; jazz journalism between 1925 and 1940 in both Europe and the United States; the contributions of some early and unjustly forgotten American writers (Abbe Niles, Carl Van Vechten, R. D. Darrell); the works of Robert Goffin and Hugues Panassié; and the actual conditions of the reception of American jazz performers in Europe. The author concludes that there were a great many Americans who liked jazz from the beginning, that the European critics do not deserve their reputation, that the idea that American performers were appreciated more in Europe than in their own country is a case of mass deception, and that the primary responsibility for creating the myth of European priority in the appreciation of jazz was the American political left.
Bibliography note	Includes bibliographical references (pages 78-85).
LCCN	88080503
ISBN	0914678302 (paperback)
ISBN	9780914678304 (paperback)

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Music	Closed Stacks - Ask at Circulation Desk	ML3508 .C64 1988	✔ Available	Place Hold

The reception of jazz in America : a new view / James Lincoln Collier.

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