Books about jazz

Not a book, but Ken Burns' Jazz documentary is well worth watching

The Steppenwolf

>>9808947
kekd
but srsly tho he hated jazz yet schoenbergs atonal/12-tone expressionist shit made him jizz
fucking progressives, everything after monophonic gregorian chant is degenerate, homophony was a mistake

>>9808716
Your english is cute

>>9808947
http://www.icce.rug.nl/~soundscapes/DATABASES/SWA/On_popular_music_1.shtml
>The previous discussion shows that the difference between popular and serious music can be grasped in more precise terms than those referring to musical levels such as "lowbrow and highbrow", "simple and complex", "naive and sophisticated".
>In serious music, each musical element, even the simplest one, is "itself", and the more highly organized the work is, the less possibility there is of substitution among the details.
>In jazz the amateur listener is capable of replacing complicated rhythmical or harmonic formulas by the schematic ones which they represent and which they still suggest, however adventurous they appear. The ear deals with the difficulties of hit music by achieving slight substitutions derived from the knowledge of the patterns. The listener, when faced with the complicated, actually hears only the simple which it represents and perceives the complicated only as a parodistic distortion of the simple. No such mechanical substitution by stereotyped patterns is possible in serious music. Here even the simplest event necessitates an effort to grasp it immediately instead of summarizing it vaguely according to institutionalized prescriptions capable of producing only institutionalized effects. Otherwise the music is not "understood". Popular music, however, is composed in such a way that the process of translation of the unique into the norm is already planned and, to a certain extent, achieved within the composition itself. The composition hears for the listener. This is how popular music divests the listener of his spontaneity and promotes conditioned reflexes. Not only does it not require his effort to follow its concrete stream; it actually gives him models under which anything concrete still remaining may be subsumed. The schematic buildup dictates the way in which he must listen while, at the same time, it makes any effort in listening unnecessary. Popular music is "pre-digested" in a way strongly resembling the fad of "digests" of printed material
pop btfo forever