{"id":842,"date":"2006-03-29T12:24:43","date_gmt":"2006-03-29T10:24:43","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=842"},"modified":"2019-03-29T12:33:58","modified_gmt":"2019-03-29T11:33:58","slug":"jazz-research-news-24-2006","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research-news\/jazz-research-news-24-2006\/","title":{"rendered":"Jazz Research News 24 (2006)"},"content":{"rendered":"

Santana: Gestaltungsformen moderner Popularmusik<\/strong>
\nSt\u00e9phane Grappelli’s Violin Technique<\/strong>
\nCharlie Parker: Polyharmony, Polymeter und Motivic Development<\/strong>
\nKid-Ory-Ensemble 1922: “Society Blues”<\/strong>
\nThird Stream<\/strong><\/p>\n

Inhalt\/Contents:<\/h5>\n

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

Christian Pfarr<\/strong><\/p>\n

Gestaltungsformen moderner Popularmusik. Drei Repertoirebeispiele der
\nRockgruppe “Santana”<\/p>\n

Frank Murphy<\/strong><\/p>\n

Assembling a Model of St\u00e9phane Grappelli’s Violin Technique<\/p>\n

Scott Sandvik<\/strong><\/p>\n

Polyharmony, Polymeter and Motivic Development in Charlie Parker’s
\nKlact-Oveeseds-Tene (Take 1) Solo<\/p>\n

Franz Krieger<\/strong><\/p>\n

Society Blues. Zur Geschichte und Analyse der ersten schwarzen
\nJazz-Schallplattenaufnahmen<\/p>\n

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

Elisabeth Kolleritsch<\/strong><\/p>\n

Jazzarchive in Norwegen und Schweden<\/p>\n

Dieter Glawischnig<\/strong><\/p>\n

“Third Stream” \u2013 Anmerkungen zu offenen Fragen. Ein Interview von
\nOskar Aichinger mit Dieter Glawischnig<\/p>\n

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

Alfons Michael Dauer<\/strong><\/p>\n

Veit Erlmann (Hg.): Popul\u00e4re Musik in Afrika<\/p>\n

Tor Dybo<\/strong><\/p>\n

Stuart Nicholson: Jazz \u2013 The Modern Resurgence<\/p>\n

Franz Kerschbaumer<\/strong><\/p>\n

Wolfram Knauer: Zwischen Bebop und Free Jazz. Komposition und Improvisation
\ndes Modernen Jazz Quartet<\/p>\n

Elisabeth Kolleritsch<\/strong><\/p>\n

Teddy Reig, Eduard Berger: Reminiscing in Tempo: Life and Times o a Jazz Hustler<\/p>\n

Harald Rauter<\/strong><\/p>\n

Gisela Albus: Paris \u2013 Pittsburgh. A Story in Jazz. The Life of Nathan Davis<\/p>\n

Ilse Storb<\/strong><\/p>\n

Theo J\u00f6rgensmann, Rolf-Dieter Weyer: Kleine Ethik der Improvisation<\/p>\n

Manfred Straka<\/strong><\/p>\n

Jan Lohmann: The Sound of Miles Davis. The Discography. A Listening of Records
\nand Tapes 1945\u20131991<\/p>\n

Wolfgang Tozzi<\/strong><\/p>\n

Derek Bailey: Improvisation: Its Nature and Practice in Music<\/p>\n","protected":false},"excerpt":{"rendered":"

Santana: Gestaltungsformen moderner Popularmusik St\u00e9phane Grappelli’s Violin Technique Charlie Parker: Polyharmony, Polymeter und Motivic Development Kid-Ory-Ensemble 1922: “Society Blues” Third Stream Inhalt\/Contents: Aufs\u00e4tze\/Essays: Christian Pfarr Gestaltungsformen moderner Popularmusik. Drei Repertoirebeispiele der Rockgruppe “Santana” Frank Murphy Assembling a Model of St\u00e9phane Grappelli’s Violin Technique Scott Sandvik Polyharmony, Polymeter and Motivic Development in Charlie Parker’s Klact-Oveeseds-Tene (Take […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-842","post","type-post","status-publish","format-standard","hentry","category-jazz-research-news"],"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\/842","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=842"}],"version-history":[{"count":2,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/842\/revisions"}],"predecessor-version":[{"id":856,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/842\/revisions\/856"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=842"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=842"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=842"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}