{"id":365,"date":"2005-03-18T11:28:58","date_gmt":"2005-03-18T10:28:58","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=365"},"modified":"2019-03-29T12:35:37","modified_gmt":"2019-03-29T11:35:37","slug":"jazzforschung-37-2005","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research\/jazzforschung-37-2005\/","title":{"rendered":"Jazzforschung \/ Jazz Research 37 (2005)"},"content":{"rendered":"<p><strong>Inhalt\/Contents:<\/strong><\/p>\n<p>Franz Krieger<br \/>\nHerbie Hancocks Harmonik in The Sorcerer<\/p>\n<p>Gernot Blume<br \/>\nPan-Musical Cross-Over: Keith Jarrett&#8217;s Multi-Instrumentalism<\/p>\n<p>Gavin Franklin\/Frank Murphy<br \/>\nWoody Shaw&#8217;s Five Versions of The Moontrane<\/p>\n<p>Frank Murphy<br \/>\nBrick Top and Her Circle: St\u00e9phane Grappelli and the Hot Club Quintet<\/p>\n<p>Nanette de Jong<br \/>\n&#8220;You Can&#8217;t Kill an Oranization&#8221;: Musicians&#8217; Collectives and the Black Power Paradigm<\/p>\n<p>Maximilian Hendler<br \/>\nWann wurde der Rap &#8220;erfunden&#8221;?<\/p>\n<p>Henry Martin\/Robert Wason<br \/>\nConstructing a Post-Modern-Jazz Pedagogy<\/p>\n<p>Josef Ferstl-Pilaj\/Gerhard Friedrich\/Leopold Mathelitsch\/Gerhard Wanker\/Walter Habermann<br \/>\nJazz-Gesang versus Klassik: Cross-over-Training mittels Computer-Feedback<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Inhalt\/Contents: Franz Krieger Herbie Hancocks Harmonik in The Sorcerer Gernot Blume Pan-Musical Cross-Over: Keith Jarrett&#8217;s Multi-Instrumentalism Gavin Franklin\/Frank Murphy Woody Shaw&#8217;s Five Versions of The Moontrane Frank Murphy Brick Top and Her Circle: St\u00e9phane Grappelli and the Hot Club Quintet Nanette de Jong &#8220;You Can&#8217;t Kill an Oranization&#8221;: Musicians&#8217; Collectives and the Black Power Paradigm [&hellip;]<\/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-365","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\/365","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=365"}],"version-history":[{"count":4,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/365\/revisions"}],"predecessor-version":[{"id":866,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/365\/revisions\/866"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}