{"id":305,"date":"1987-03-18T10:54:12","date_gmt":"1987-03-18T09:54:12","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=305"},"modified":"2019-03-29T12:37:41","modified_gmt":"2019-03-29T11:37:41","slug":"jazzforschung-19-1987","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research\/jazzforschung-19-1987\/","title":{"rendered":"Jazzforschung \/ Jazz Research 19 (1987)"},"content":{"rendered":"

Anmerkungen zur Musik Eberhard Webers<\/strong>
\nZu Thelonius Monk’s musikalischer \u00c4sthetik<\/strong>
\nThe Scat Singing Styles of Ella Fitzgerald and Sarah Vaughan<\/strong>
\nBix Beiderbecke as Jazz Pianist<\/strong>
\nBa\u00df-Spiel im traditionellen Jazz<\/strong>
\nJazz and Blues in the Music of T. J. Anderson<\/strong>
\nJazz und “Improvisierte Musik” in Europa<\/strong><\/p>\n

Inhaltsverzeichnis\/Contents:<\/strong><\/p>\n

Aufs\u00e4tze\/Essays:<\/strong><\/p>\n

Ulrich J. Messerschmidt
\nEinige Anmerkungen zum Werdegang des Jazz-Bassisten Eberhard Weber<\/p>\n

Peter N. Wilson
\nVersuch \u00fcber das “Monkische”.\u00a0 Zur musikalischen \u00c4sthetik Thelonious
\nSphere Monks und ihrem posthumen Weiterwirken<\/p>\n

Milton L. Stewart
\nStylistic Environment and the Scat Singing Styles of Ella Fitzgerald and
\nSarah Vaughan<\/p>\n

Frank Murphy
\nBix Beiderbecke: Jazz Pianist<\/p>\n

Lindy Huppertsberg
\nZur Stilistik des Ba\u00df-Spiels im traditionellen Jazz. Ein analytischer Vergleich<\/p>\n

Bruce A. Thompson
\nThe Influence and Use of Jazz and Blues in the Music of T. J. Anderson<\/p>\n

Bert Noglik
\nAktuelle Aspekte der Identit\u00e4t von Jazz und “Improvisierter Musik” in Europa:
\nDifferenziertes Selbstverst\u00e4ndnis und Internationalisierung<\/p>\n

G\u00fcnter H. Lenz
\nThe Politics of Black Music and the Tradition of Poetry: Amiri Baraka and John
\nColtrane. Deutsche Zusammenfassung des Aufsatzes in Jazzforschung\/Jazz
\nResearch 18 (1986)<\/p>\n

Berichte und kleine Beitr\u00e4ge\/Reports and small Contributions:<\/strong><\/p>\n

Peter Kann
\nDie “Basic Posture” im afrikanischen Tanz: Funtionelle Anatomie des “Collapse”<\/p>\n

Buchbesprechungen\/Book Reviews:<\/strong><\/p>\n

Alfons M. Dauer
\nHeiner M\u00fcckenberger: Meet Me Where They Play The Blues. Jack Teagarden
\nund seine Musik<\/p>\n

Alfons M. Dauer
\nRainer Nolden: Ella Fitzgerald<\/p>\n

J\u00fcrgen Hunkem\u00f6ller
\nWerner Gissing: Mississippi Delta Blues<\/p>\n

Alfons M. Dauer
\nRobert Sacr\u00e9: The Voice of the Delta<\/p>\n

Alfons M. Dauer
\nStascha Bader: Electro-Orale Poesie in Jamaika<\/p>\n

Elisabeth Kolleritsch
\nGary Carner: A Bibliography of Jazz and Blues. Biographical Literature<\/p>\n

Ilse Storb
\nHermann Rauhe\/Reinhard Flender: Schl\u00fcssel zur Musik<\/p>\n

Antonin Truhl\u00e1r
\nAntonin Matzner: Ryhtm & Blues<\/p>\n","protected":false},"excerpt":{"rendered":"

Anmerkungen zur Musik Eberhard Webers Zu Thelonius Monk’s musikalischer \u00c4sthetik The Scat Singing Styles of Ella Fitzgerald and Sarah Vaughan Bix Beiderbecke as Jazz Pianist Ba\u00df-Spiel im traditionellen Jazz Jazz and Blues in the Music of T. J. Anderson Jazz und “Improvisierte Musik” in Europa Inhaltsverzeichnis\/Contents: Aufs\u00e4tze\/Essays: Ulrich J. Messerschmidt Einige Anmerkungen zum Werdegang des […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-305","post","type-post","status-publish","format-standard","hentry","category-jazz-research"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/305","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/comments?post=305"}],"version-history":[{"count":4,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/305\/revisions"}],"predecessor-version":[{"id":884,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/305\/revisions\/884"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}