{"id":371,"date":"2007-03-18T11:30:58","date_gmt":"2007-03-18T10:30:58","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=371"},"modified":"2019-03-29T12:35:23","modified_gmt":"2019-03-29T11:35:23","slug":"jazzforschung-39-2007","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research\/jazzforschung-39-2007\/","title":{"rendered":"Jazzforschung \/ Jazz Research 39 (2007)"},"content":{"rendered":"

Festschrift Franz Kerschbaumer zum 60. Geburtstag<\/strong><\/p>\n

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

Vorwort \/ Preface:<\/strong><\/p>\n

Manfred Straka
\nFranz Kerschbaumer \u2013 on his Personality and his Performance<\/p>\n

Franz Krieger
\nKeith Jarretts “All The Things You Are” (1989): Rhythmische Aspekte einer au\u00dfergew\u00f6hn-
\nlichen Interpretation<\/p>\n

Wolfgang Tozzi
\nBig Band Drumming: Three Tunes from the Count Basie Bandbook<\/p>\n

Frank Murphy
\nRed Nichols and His Five Pennies: The Final Recordings<\/p>\n

Herbert Hellhund
\nEine alte Kunst in neuem Licht \u2013 Miles Davis und die Paraphrasen-Improvisation,
\ndokumentiert durch die Quintettaufnahmen 1955\/56<\/p>\n

Thomas Owens
\nA Dictionary of Jazz Chord Patterns \u2013 Initial Thoughts<\/p>\n

Paul F. Berliner
\nArt Farmer on Learning and Improvisation<\/p>\n

Tor Dybo
\nCross-Cultural Forms of Improvisation in Norwegian Jazz Life<\/p>\n

Luca Cerchiari
\nGreensleeves and the Challenge of Transatlantic Music(ology)<\/p>\n

Bernd Hoffmann
\n“Und der Duke weinte”. Afro-Amerikanische Musik im Film: Zu Arbeiten des
\nRegisseurs Dudley Murphy aus dem Jahr 1929<\/p>\n

J\u00fcrgen Arndt
\nKitsch, Klang und Gesang: Frank Sinatra in den 1940er Jahren<\/p>\n

Ekkehard Jost
\nDer Jazz im franz\u00f6sischen Rundfunk<\/p>\n

Ingeborg Harer
\nAfrikanisierungs- oder Europ\u00e4isierungstendenzen? Quellen zur Fr\u00fchgeschichte
\ndes Ragtime<\/p>\n

Helmut Brenner
\n\u00bfMarimba? \u00a1Marimba! Zur Frage multipler Transkulturation<\/p>\n

Alfred Smudits
\nMedien, Mediamorphosen und Jazz<\/p>\n

Wolfgang Suppan
\nKomposition und Improvisation aus anthropologischer Sicht<\/p>\n

Hermann Rauhe
\nDas Jazzjahrhundert: Zum Einflu\u00df des Jazz auf die Musik und Musikvermittlung
\nim 20. Jahrhundert<\/p>\n

Peter Kunsek
\nGru\u00dfworte & “Body and Soul” (Buddy DeFranco)<\/p>\n

Maximilian Hendler
\nTrompeta querida: Die Rezeption der Bl\u00e4sers\u00e4tze in der kubanischen Musik<\/p>\n

Regine Allgayer-Kaufmann
\nInflu\u00eancia do Jazz \u2013 Samba Bossa-Nova von Carlos Lyra<\/p>\n

Gerd Grupe
\nIt Dread Inna Inglan: Linton Kwesi Johnson \u2013 eine Ikone afro-jamaikanischen
\nSprechgesangs in Gro\u00dfbritannien<\/p>\n

Harald Huber
\nTheorie des Songs<\/p>\n

Werner Jauk
\nDer Sound des hedonisch-performativen K\u00f6rpers und das Spiel der Elektrogitarre<\/p>\n

Harald Neuwirth
\nGru\u00dfworte & “Young And Foolish” (Bill Evans)<\/p>\n

Peter Revers
\n“And pay in currencies however weird \/ To hear Sarastro booming through his beard”:
\nChanging Mozart-images from the late 18th to the 21st Centuries<\/p>\n

Renate Bozic
\n“Graz ist ein langweiliges Nest, zum G\u00e4hnen eingerichtet” \u2013 Eine Momentaufnahme aus
\ndem Jahr 1830<\/p>\n

J\u00fcrgen Hunkem\u00f6ller
\nDass ich den Frieden Gottes schmeck’ und f\u00fchl’ \u2013 Klangvisionen von J.S. Bach<\/p>\n

Alfons Michael Dauer
\nF\u00fcr Midas den Aulosspieler von Akragas: Pindars 12. Pythische Ode, ca. 490 v. Chr.<\/p>\n

Dieter Glawischnig
\nGru\u00dfworte & “my own song” (Dieter Glawischnig)<\/p>\n

Evelyn Deutsch-Schreiner
\nAustrian Writer’s Theatre: Drama Has Been Booming for Over 20 Years<\/p>\n","protected":false},"excerpt":{"rendered":"

Festschrift Franz Kerschbaumer zum 60. Geburtstag Inhalt\/Contents: Vorwort \/ Preface: Manfred Straka Franz Kerschbaumer \u2013 on his Personality and his Performance Franz Krieger Keith Jarretts “All The Things You Are” (1989): Rhythmische Aspekte einer au\u00dfergew\u00f6hn- lichen Interpretation Wolfgang Tozzi Big Band Drumming: Three Tunes from the Count Basie Bandbook Frank Murphy Red Nichols and His […]<\/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-371","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\/371","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=371"}],"version-history":[{"count":4,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/371\/revisions"}],"predecessor-version":[{"id":864,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/371\/revisions\/864"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=371"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=371"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}