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Jazz Italian style : from its origins in New Orleans to fascist Italy and Sinatra / Anna Harwell Celenza.

Av:

Celenza, Anna Harwell [aut]

Språk: Engelska Utgivning: Cambridge : Cambridge University Press, 2017Beskrivning: xi, 255 s. illISBN:

9781107169777

Ämne:

DDK-klassifikation:

781.650945 23/swe

SAB-klassifikation:

Ijxc-i.5

Innehåll:

Italians and the origins of jazz ; Jazz crosses the Atlantic ; Jazz and fascism ; Jazz Italian style ; A nation divided

Sammanfattning: Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in Northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering

Holdings ( 1 )
Title notes ( 3 )

Holdings
Item type	Current library	Call number	Materials specified	Status	Date due	Barcode	Item holds
Book	Musik- och teaterbiblioteket Magasin A	B31.522		Available		26201853463

Total holds: 0

Innehåller bibliografi och index

Italians and the origins of jazz ; Jazz crosses the Atlantic ; Jazz and fascism ; Jazz Italian style ; A nation divided

Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in Northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering