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Journal articles on the topic 'Jazz writing'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Rawlins, Robert. "Writing Jazz (review)." Notes 57, no. 4 (2001): 914–15. http://dx.doi.org/10.1353/not.2001.0109.

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Allison, R. "Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing." American Literature 78, no. 1 (2006): 190–92. http://dx.doi.org/10.1215/00029831-78-1-190.

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3

MUNTON, ALAN. "Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz Critics." Journal of American Studies 31, no. 2 (1997): 235–51. http://dx.doi.org/10.1017/s0021875897005653.

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Toni Morrison's fiction, we have been repeatedly told, embodies features taken from jazz. Her books have a “jazzy prose style,” express a “jazz aesthetic,” or are “literary jazz.” Critics propose that jazz riffs can be found in her writing, and that she improvises in prose in a manner comparable to an improvising jazz musician. None of this seems to me to be true. To establish a relationship between music and prose fiction would be difficult under any circumstances. It is all the more difficult when the critics concerned show themselves to be unaware of the basic formal structures of jazz. The

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4

Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.

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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole

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5

Day, Jonathan. "Jazz, Kant and Zen." Culture and Dialogue 4, no. 2 (2016): 301–16. http://dx.doi.org/10.1163/24683949-12340017.

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Transgression and experimentation are at the heart of the musical composition with which this work begins. The compositional approaches employed developed from a consideration of Kant’s Critique of Judgement (1790) which offers a compelling explanation for the apparently bizarre “claim to objectivity” commonly made in judgements of taste. Kant’s final conclusion around the source of the claim is, for me, disappointing. This current work re-examines and extends his argument through an elision with Zen writing, and offers an alternate account. It is posited that the “claim to objectivity” operat

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Harris, William J. "Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing (review)." William Carlos Williams Review 26, no. 1 (2006): 104–7. http://dx.doi.org/10.1353/wcw.2007.0001.

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7

Jarrett, Michael. "Four Choruses on the Tropes of Jazz Writing." American Literary History 6, no. 2 (1994): 336–53. http://dx.doi.org/10.1093/alh/6.2.336.

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8

Cerchiari, Luca. "How to make a career by writing against jazz: Anton Giulio Bragaglia’s Jazz Band (1929)." Forum Italicum: A Journal of Italian Studies 49, no. 2 (2015): 462–73. http://dx.doi.org/10.1177/0014585815583265.

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O'Donoghue Oddy, Ellen. "‘9-TO-5, WENT TO COLLEGE, NOT 2-NITE HOMEY BLUES’: Jazz and the American mundane in Jean-Michel Basquiat’s writing." Jazz Research Journal 13, no. 1-2 (2019): 19–32. http://dx.doi.org/10.1558/jazz.37810.

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FORD, ROB. "Paul Oliver: a selective bibliography, 1952–2005." Popular Music 26, no. 1 (2006): 157–86. http://dx.doi.org/10.1017/s0261143007001195.

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This selective listing concentrates on Paul Oliver's writings on music – therefore, references to books and articles on architecture have been omitted. For reasons of space, Paul's numerous record, book and concert reviews, published in journals such as Jazz Monthly, Audio & Record Review, Melody Maker, and Blues Unlimited, have not been included. For similar reasons, I have chosen not to include the many entries Paul contributed to the following encyclopedias: Jazz on Record: A Critical Guide to the First 50 Years, 1917–1967, ed. A. McCarthy, A. Morgan, M. Harrison and P. Oliver (London,

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11

Peretti, Burton. "New Orleans Style and the Writing of American Jazz History." Jazz Perspectives 4, no. 3 (2010): 369–72. http://dx.doi.org/10.1080/17494060.2010.561095.

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12

Carney, C. "New Orleans Style and the Writing of American Jazz History." Journal of American History 97, no. 4 (2011): 1144–45. http://dx.doi.org/10.1093/jahist/jaq055.

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Cooke, M. "Fascinating Rhythm: Reading Jazz in American Writing. By David Yaffe." Music and Letters 88, no. 3 (2007): 535–38. http://dx.doi.org/10.1093/ml/gcl132.

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14

McMillan, Bo. "Food Is the New Jazz?: Jack Kerouac and Food Writing." Gastronomica 18, no. 4 (2018): 13–25. http://dx.doi.org/10.1525/gfc.2018.18.4.13.

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“The apple pie was more than just ‘nutritious, man.’” Despite frequent critical fixation on the jazz aspects of Jack Kerouac's oeuvre, this reconsideration of the author's canon poses food as a central theme of the Duluoz Legend and analyzes the ways in which Kerouac thought and wrote about food as an object, literary motif, and cultural conduit—modes of thought that, despite previous tracing of contemporary food culture to the counterculture of the 1960s and 1970s, lead almost directly to many current food issues, practices, and debates. Grounded in Kerouac's attentive engagement with the agr

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15

Oliver, Paul. "That certain feeling: blues and jazz … in 1890?" Popular Music 10, no. 1 (1991): 11–19. http://dx.doi.org/10.1017/s0261143000004281.

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‘And this, after all, we do know with certainty: that in the 1880s in and around New Orleans and in other parts of the South, they were beginning to play the music we call jazz.’ So wrote Barry Ulanov who was convinced that jazz ‘reached back to the twelve bar form of the folk tune … and evolved that most durable and most thoroughly adaptable of jazz forms, the blues’. Picked out by ‘men and women in the backwoods and the front parlors making the delicate little changes, insisting upon the famous “blue notes”’, it took shape ‘long before the famous early names of jazz – before Buddy Bolden and

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16

Mkhize, Jabulani. "‘Pushing the envelope’: The Representation of Jazz, Sex and Violence in Fred Khumalo’s Bitches’ Brew." English in Africa 47, no. 1 (2020): 69–95. http://dx.doi.org/10.4314/eia.v47i1.4.

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This paper, primarily, explores the extent to which Fred Khumalo’s novel, Bitches’ Brew, can be considered a jazz novel by looking at both its subject matter and form. It argues that the transgressive power of Khumalo’s novel lies in its use of epistolary form as a narrative strategy that is akin to a jazz solo, marked as it is by a dialogical narrative that is similar to the call and response pattern that bears an affinity to a jazz performance. In terms of the subject matter, the central thrust of the argument is that the over-arching predominance of sex and violence in the text threatens to

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Dinerstein, J. "Blowin' Hot and Cool: Jazz and Its Critics; Fascinating Rhythm: Reading Jazz in American Writing; Swinging the Vernacular: Jazz and African American Modernist Literature." American Literature 79, no. 4 (2007): 862–64. http://dx.doi.org/10.1215/00029831-2007-058.

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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia." Popular Music 36, no. 1 (2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.

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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of specula

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Lloyd, Richard. "Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations." Contemporary Sociology: A Journal of Reviews 36, no. 3 (2007): 256–57. http://dx.doi.org/10.1177/009430610703600330.

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20

Perchard, Tom. "Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz." Popular Music 30, no. 1 (2011): 25–45. http://dx.doi.org/10.1017/s0261143010000644.

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AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian vi

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21

Martin, Jodie L. "Writing about music: The selection and arrangement of notation in jazz students’ written texts." British Journal of Music Education 35, no. 1 (2017): 73–89. http://dx.doi.org/10.1017/s0265051717000171.

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Music notation is intrinsic in the composition and performance of Western art music and also in its analysis and research. The process of writing about music remains underexplored, in particular how excerpts of music notation are selected and arranged in a written text, and how that text describes and contextualises the excerpts. This article applies ‘semantic gravity’ from Legitimation Code Theory to characterise notational excerpts and their integration in a written text, by focusing on how closely they are connected to a particular performance or generalised across performances. It illustra

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22

Heyman, Matthias. "Composing the Jazz Bass Revolution: Duke Ellington’s Writing for the String Bass, 1925–1941." Jazz Perspectives 11, no. 3 (2018): 207–41. http://dx.doi.org/10.1080/17494060.2019.1682638.

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Irzaq, Muhammad, and Esy Maestro. "ANALISIS STRUKTUR DAN UNSUR MUSIK KOMPOSISI TAKE FIVE KARYA PAUL DESMOND." Jurnal Sendratasik 10, no. 1 (2020): 337. http://dx.doi.org/10.24036/jsu.v9i2.110566.

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This study aims to describe Paul Desmond's Take Five music composition analysis. This type of research is descriptive qualitative research with the main instrument in this study is part music in the form of song parts. The researcher processed the data with steps such as reading the scores from the take five material itself, then classifying the data from understanding music theory to the material itself, from the structural aspect of music to melody, rhythm and interval, so that the researcher can make a summary of the data. which was found in the form of writing describing the understanding

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24

Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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25

Kim, Sharon. "The Brokenness of Caesar's Things." Christianity & Literature 68, no. 2 (2018): 233–51. http://dx.doi.org/10.1177/0148333118757552.

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Caesar's Things is a semi-autobiographical novel combining modernist literary experimentation with narrative structures derived from the Bible. This unfinished work is seldom analyzed by literary scholars, in part because Fitzgerald's Christian conversion in the 1930s coincided with a mental breakdown, which made her faith and writing both suspect. Criticized as “incoherent,” the novel nonetheless becomes legible when Fitzgerald's religion is disentangled from madness and its contributions examined. The novel confesses the spiritual impoverishment of the Jazz Age protagonist, then seeks her re

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Saul, S. "Blows like a Horn: Beat Writing, Jazz, Style, and Markets in the Transformation of U.S. Culture; Notes to Make the Sound Come Right: Four Innovators of Jazz Poetry." American Literature 77, no. 4 (2005): 862–64. http://dx.doi.org/10.1215/00029831-77-4-862.

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27

AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.

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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at bein

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DOKTOR, STEPHANIE. "Finding Florence Mills: The Voice of the Harlem Jazz Queen in the Compositions of William Grant Still and Edmund Thornton Jenkins." Journal of the Society for American Music 14, no. 4 (2020): 451–79. http://dx.doi.org/10.1017/s1752196320000334.

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AbstractAfter her performances in Shuffle Along (1921) on Broadway and in Dover Street to Dixie (1923) in London, Florence Mills became one of the most famous jazz and vaudeville singers. Known as the Harlem Jazz Queen, Mills was revered by Black Americans for her international breakthrough and because she used her commercial success as a platform to speak out against racial inequality. Extensive descriptions of her performance style and voice exist in writing, but there are no recordings of her singing. I respond to this archival loss by considering the sound of Mills's voice in two compositi

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29

Birtwistle, Andy. "Marking time and sounding difference: Brubeck, temporality and modernity." Popular Music 29, no. 3 (2010): 351–71. http://dx.doi.org/10.1017/s0261143010000243.

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AbstractIn critical writing on the music of Dave Brubeck, little attention has been paid to the use of polyrhythm, despite the fact that this has been central to Brubeck's approach to jazz since the late 1940s. Focusing on work recorded by the ‘classic’ Dave Brubeck Quartet, the article aims to re-evaluate Brubeck's use of polyrhythm by situating it within a cultural history of modernity, rather than the established discourses of jazz musicology. The article revisits the early 1960s to reconstruct the context provided for the music not only by articles printed in the music press, but also by n

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Edge, Hoyt. "Dangerous Pursuits: Mediumship, Mind, and Music by Stephen E. Braude." Journal of Scientific Exploration 34, no. 4 (2020): 875–81. http://dx.doi.org/10.31275/20201955.

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Stephen Braude is the most prolific of the late 20th and early 21st century philosophers writing about parapsychogy, and his work in the philosophical aspects of parapsychology has been the most influential in this field for the past several decades. This book encompasses both philosophical issues in parapsychology, as well as studies in spontaneous and mediumistic investigations, and this collection spans the spectrum of his interests, including jazz. His title is an apt warning about the dangers to academics pursuing work in parapsychology; however, some suspicion towards those of us in the

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Juen, Sarah Anna. "Between Jazz, Cherry Blossoms, and Baseball: Transculturality in the Publications of Murakami Haruki." Vienna Journal of East Asian Studies 9, no. 1 (2018): 59–84. http://dx.doi.org/10.2478/vjeas-2017-0003.

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Abstract In this day and age a continuous flow of ideas and culture takes place, which is part of the globalisation process. These exchanges influence the development of a transcultural literature. Murakami Haruki is not only a transcultural writer, but one of the most popular and internationally acclaimed authors of contemporary Japanese literature who has changed the literary scene in Japan since the publication of his debut novel Kaze no uta o kike (Hear the Wind Sing). Murakami has experimented with postmodern expressions and eventually developed his own writing style, which integrates ele

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Cardany, Audrey Berger. "Muddy Waters: His Life and Music." General Music Today 31, no. 3 (2018): 73–79. http://dx.doi.org/10.1177/1048371318756626.

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The author reviews Mahin and Turk’s children’s book Muddy: The Story of Blues Legend Muddy Waters. This biography of McKinley Morganfield describes his challenges and successes in music and life. Illustrations reflect African American culture using color palettes to highlight the places Waters lived and the music connected to those places including the Mississippi Delta blues and the electric Chicago blues style. The musical writing of Mahin expresses Muddy’s story in a lyrical fashion, borrowing elements from the jazz idiom. The author includes a selected discography and suggestions for addit

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TEICHGRAEBER, RICHARD F. "BEYOND “ACADEMICIZATION”: THE POSTWAR AMERICAN UNIVERSITY AND INTELLECTUAL HISTORY." Modern Intellectual History 8, no. 1 (2011): 127–46. http://dx.doi.org/10.1017/s1479244311000072.

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The still astonishing expansion of the American university since World War II has transformed the nation's intellectual and cultural life in myriad ways. Most intellectual historians familiar with this period would agree, I suppose, that among the conspicuous changes is the sheer increase in the size and diversity of intellectual and cultural activity taking place on campuses across the country. After all, we know that colleges and universities that employ us also provide full- and part-time academic appointments to novelists, poets, playwrights, filmmakers, choreographers, composers, classica

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Doyle, Charlotte L. "Social Interaction in the Art of Acting: Forms and Phases." Creativity. Theories – Research - Applications 3, no. 2 (2016): 211–28. http://dx.doi.org/10.1515/ctra-2016-0014.

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AbstractCreativity is here construed as an activity taking place in phases over time, one everywhere imbued with the social, whether the creator does much of the work alone as in fiction writing or with others where the creation itself is collaborative such as jazz improvisation. This paper considers the creation of theatrical roles, a domain in which some phases of the activity take place under solitary conditions and others involve face-to-face interaction. Grounded in a research review, the paper examines the phases of the creative process in scripted acting. It notes the kinds of social re

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Miyakawa, Felicia M. "‘Jazz at Night and the Classics in the Morning’: musical double-consciousness in short fiction by Langston Hughes." Popular Music 24, no. 2 (2005): 273–78. http://dx.doi.org/10.1017/s0261143005000498.

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Leaders of the Harlem Renaissance – intellectuals such as Jessie Faucet, Alain Locke, James Weldon Johnson and W.E.B. DuBois – hoped to gain respect for African Americans through participation in emblems of high culture such as poetry, novels, serious plays, and the highest of all classical music genres: the symphony.1 They encouraged artists to mine folk themes for use in new, elevating works, transforming ‘indigenous’ materials into uplifting examples of high cultural resonance. Artists themselves, however, were ambivalent about privileging ‘high’ art, and especially so when making and writi

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Jaber, Salsabeel Jamal Said. "The Dynamics of Hybridity in Diana Abu Jaber's The Language of Baklava and Life Without a Recipe." International Journal of Linguistics, Literature and Translation 4, no. 6 (2021): 07–11. http://dx.doi.org/10.32996/ijllt.2021.4.6.2.

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This study explores the portrayal of hybridity in Diana Abu Jaber's two memoirs, The Language of Baklava (2005) and Life without a Recipe (2016). Many researchers have dealt with the cultural issues that are portrayed in Diana Abu Jaber's novels, especially Crescent (2003) and Arabian Jazz (1993). This study is distinguished from previous studies by focusing on the cultural aspects that are portrayed in Abu Jaber's two memoirs. The main concern of this study is to shed light on Diana Abu Jaber's contributions to the exploration of the concept of hybridity in her memoirs from many aspects, such

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Borshuk, M. "Cross-Rhythms: Jazz Aesthetics in African-American Literature; Writing the Future of Black America: Literature of the Hip-Hop Generation." American Literature 82, no. 4 (2010): 855–57. http://dx.doi.org/10.1215/00029831-2010-056.

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BROWN, LEE B. "Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisationsedited by becker, howard s., robert r.faulkner, and barbarakirshenblatt-gimblett." Journal of Aesthetics and Art Criticism 66, no. 2 (2008): 205–8. http://dx.doi.org/10.1111/j.1540-6245.2008.00301_5.x.

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BROWN, LEE B. "Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisationsedited by becker, howard s., robert r.faulkner, and barbarakirshenblatt-gimblett." Journal of Aesthetics and Art Criticism 66, no. 2 (2008): 205–8. http://dx.doi.org/10.1111/j.1540-594x.2008.00301_5.x.

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Hawkins, Alexander. "Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations ? By H.S. Becker, R.R. Faulkner and B. Kirschenblatt-Gimblett." British Journal of Sociology 58, no. 1 (2007): 141–42. http://dx.doi.org/10.1111/j.1468-4446.2007.00144_2.x.

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Radovic, Branka. "New age in Serbia, Zoran Simjanovic: New ideas symphony." Muzikologija, no. 7 (2007): 305–22. http://dx.doi.org/10.2298/muz0707305r.

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?New age? was a trend which appeared in the music of the 1980?s, bringing a new dimension to art music in general, especially in its reception. At first its development was stimulated by technological inventions, ?the technological craze?, by new carriers of sound, simultaneously globalizing art and making it widely accessible. This new trend includes quite disparate categories. It does not distance itself from subculture, and in art music it gravitates towards cosmopolitism while being permeated with other musical trends such as pop, rock, jazz and other phenomena of show business and popular

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Dhakal, Lekha Nath. "Musical Tradition and Cultural Vision in Langston Hughes’s Poetry." Literary Studies 33 (March 31, 2020): 41–45. http://dx.doi.org/10.3126/litstud.v33i0.38034.

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In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both

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Zion, Lawrence. "The impact of the Beatles on pop music in Australia: 1963–66." Popular Music 6, no. 3 (1987): 291–311. http://dx.doi.org/10.1017/s0261143000002336.

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For young Australians in the early 1960s America was the icon of pop music and fashion. This was the result of the projection of America through the mass media and the numerous American rock'n'roll acts that were brought to Australia by Lee Gordon, an American entrepreneur who lived in Sydney (Zion 1984). This overall tendency led the American, A. L. McLeod, to observe when writing about Australian culture in 1963 thatin general, Australian popular music is slavishly imitative of United States models; it follows jazz, swing, calypso or whatever the current fashion is in New York or San Francis

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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.

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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock a

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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.

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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for t

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Klęczaj-Siara, Ewa. "Protecting the spirit of the American South: Representations of New Orleans Culture in Contemporary Children’s Picture Books." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 281–92. http://dx.doi.org/10.7311/pjas.13/2/2019.09.

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This article explores selected aspects of southern culture as presented in contemporary children’s picture books. It analyzes children’s stories which celebrate New Orleans’ residents and their traditions. Unlike many scholars who point to the end of the New Orleans spirit due to recent economic and demographic changes, children’s authors perceive the culture as a resource which regenerates the city. By means of writing for children they keep the city’s distinct black culture from disappearing. The aim of this article is to examine to what extent the spirit of the South has survived in the min

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Nowak, Raphaël, and Andrew Whelan. "“Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene." Open Cultural Studies 2, no. 1 (2018): 451–62. http://dx.doi.org/10.1515/culture-2018-0041.

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Abstract Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The i

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Cox, Harvey. "Response to Professor Nimi Wariboko." Pneuma 33, no. 3 (2011): 409–16. http://dx.doi.org/10.1163/157007411x598309.

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Abstract Professor Wariboko has rightly responded to Fire from Heaven in the context of the entire span of my writing from The Secular City to The Future of Faith and has pointed out some persistent themes. The thesis of The Secular City was that God remains present and active in a secularizing world, albeit not always under “religious” auspices. A new generation of thinkers, including Charles Taylor, has now picked up this theme. Fire from Heaven described the “surfacing” of this primal piety in the global Pentecostal wave, and The Future of Faith suggests what the next stage may be. The Pent

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Spiro, Neta, and Michael F. Schober. "Discrepancies and Disagreements in Classical Chamber Musicians’ Characterisations of a Performance." Music & Science 4 (January 1, 2021): 205920432110110. http://dx.doi.org/10.1177/20592043211011091.

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To what extent do classical chamber musicians converge in their characterisations of what just happened in their live duo performance, and to what extent do audience members agree with the performers’ characterisations? In this study a cello-piano duo performed Schumann’s Phantasiestücke, Op. 73, no. 1 as part of their conservatory studio class in which members critique performances in development. Immediately after, the listeners and players individually characterised what had most struck them about the performance, first writing comments from memory and then marking scores while listening to

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Loges, Sonja, Michael Heuser, Jörg Chromik, et al. "The Combination of AXL Inhibitor Bemcentinib and Low Dose Cytarabine Is Well Tolerated and Efficacious in Elderly Relapsed AML Patients: Update from the Ongoing BGBC003 Phase II Trial (NCT02488408)." Blood 136, Supplement 1 (2020): 14. http://dx.doi.org/10.1182/blood-2020-136566.

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Background Standard low dose cytarabine (LDAC) monotherapy in elderly previously-treated relapsed and primary resistant/refractory (R/R) AML patients unfit for intensive chemotherapy shows limited response (CR rate of up to 17%) and survival benefit (mOS 4-6 mos, Sarkozy, 2013). Hence this vulnerable patient population has significant unmet need for well tolerated and efficacious new treatments. Bemcentinib (BEM) is a selective small molecule inhibitor of AXL, a surface membrane protein kinase receptor mediating resistance to chemotherapeutic agents and decreased antitumor immune response. AXL

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