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*020  $a9781501326141$c230 kr.
*035  $a(NO-LaBS)11255703(bibid)
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*1001 $aBrennan, Matt$_28906400
*24500$aWhen genres collide$bDown Beat, Rolling Stone, and the struggle between jazz and rock$cMatt Brennan
*260  $aNew York$bBloomsbury Academic$c2017
*300  $a240 s.$bill.
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*5058 $aIntroduction ; Early American Jazz as the Precursor to Rock 'n' Roll Chapter ; Down Beat and Mid-Century Popular Music Coverage Chapter ; The American Jazz Press Covers Rock Chapter ; The Birth of Rolling Stone Chapter ; Newport 1969 and the Uneasy Coupling of Jazz and Rock Conclusion ; Index
*5208 $aPublisher Synopsis: Matt Brennan's When Genres Collide goes beyond accepted wisdom about jazz-rock 'fusion' to trace a long, twisted history of interrelationships between two of the twentieth century's defining musical forms. A game-changing study of popular music genres and the social function of music criticism. Steve Waksman, Author of This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (2009) and Professor of Music and Sylvia Dlugasch Bauman Professor of American Studies, Smith College, USA An intelligent and engaging book. Brennan challenges established assumptions about jazz and rock music and makes us think differently about the way in which history is constructed and understood. A must for anyone interested in popular music, criticism and the politics of genre. Tony Whyton, Professor of Jazz Studies, Birmingham City University, UK Matt Brennan has given us a new perspective on the formation and development of rock and jazz discourse through the 1960s and 1970s, which have had lasting implications. Focusing on Down Beat and Rolling Stone magazines as well as the separate formation of jazz and popular music studies, Brennan argues convincingly that the combined efforts of scholars and writers during the period have given us a world in which jazz and rock remain incommensurable genres. Kevin Fellezs, author of Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion (2011) This practitioner-informed study challenges the powerful but dangerously misleading assumption that jazz is somehow not a 'popular' music, and in doing so clears the ground for its instructive juxtapositioning with rock. Here at last is a full length study of the way the discourses of jazz and rock faced off and circled each other, sometimes as adversaries, sometimes embracing.
*5208 $aThis is a major study of an encounter between the two most influential developments in modern music: jazz in the early twentieth century. Together they laid down the template for the dynamics of modern popular culture. In a music-scape in which sampling, hybridity and cross-generic syncretisms are the norm, where the old criterion of 'authenticity' has worn threadbare, the history of the relationship between jazz and rock has significant lessons for the cultural dynamics of modernity. Bruce Johnson, Professor, University of Technology Sydney, Australia
*599  $a230 kr.
*650 4$aJazzrock$_12081800
*650 4$aPopmusikk$_10025000
*65004$aJazz$_10024700
*65004$aMusikkritikk$_12146900
*65004$aRock$_10025100
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