First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Jazz: Research and Pedagogy is the third edition of an annotated bibliography to books, recordings, videos, and websites in the field of jazz. Since the publication of the 2nd edition in 1995, the quantity and quality of books on jazz research, performance, and teaching materials have increased. Although the 1995 book was the most comprehensive annotated jazz bibliography published to that date, several books on research, performance, and teaching materials were omitted. In addition, given the proliferation of new books in all jazz areas since 1995, the need for a new, comprehensive, and annotated reference book on jazz is apparent. Multiply indexed, this book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the last decade.

This annotated bibliography contains over 700 entries covering adult non-fiction books on jazz published from 1990 through 1999. Entries are organized by category, including biographies, history, individual instruments, essays and criticism, musicology, regional studies, discographies, and reference works. Three indexes—by title, author, and subject—are included.

Jazz has been around for over a hundred years but how much do we know about its history, and how much of what think we know is true? Beginning in the so called Jazz Age of the 1920s jazz history was recounted and interpreted by admiring authors and record collectors both in the United States and elsewhere. However, since the early 1990s some historians have come to doubt the validity of the conventional narrative of the story of jazz and some of its most hallowed traditions. In Jazz Historiography: The Story of Jazz History Writing Daniel Hardie uncovers the course of jazz history writing from early Jazz Age American and French publications to Academic texts in the 2000s, and seeks answers to questions about the accuracy of those accounts and the influence they have had on our understanding of jazz history - even the impact they might have had on the course of jazz history itself. How much for example did the work of jazz historians influence the course of the New Orleans Revival? Was the appearance of bebop in the 1940s a revolutionary response to oppression experienced by Afro American musicians in a commercialized popular music industry, or was it an attempt to mirror the development of classical music of the time? How has the development of University jazz studies influenced the writing of jazz history?

Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades.

"Documented with great care and affection, this book is filled with revelations about the intermingling of peoples, styles of music, business interests, night-life pleasures, and the strange ways lived experience shaped black music as America's music in California." —Charles Keil, co-author of Music Grooves

Today, jazz is considered high art, America’s national music, and the catalog of its recordings—its discography—is often taken for granted. But behind jazz discography is a fraught and highly colorful history of research, fanaticism, and the intense desire to know who played what, where, and when. This history gets its first full-length treatment in Bruce D. Epperson’s More Important Than the Music. Following the dedicated few who sought to keep jazz’s legacy organized, Epperson tells a fascinating story of archival pursuit in the face of negligence and deception, a tale that saw curses and threats regularly employed, with fisticuffs and lawsuits only slightly rarer. Epperson examines the documentation of recorded jazz from its casual origins as a novelty in the 1920s and ’30s, through the overwhelming deluge of 12-inch vinyl records in the middle of the twentieth century, to the use of computers by today’s discographers. Though he focuses much of his attention on comprehensive discographies, he also examines the development of a variety of related listings, such as buyer’s guides and library catalogs, and he closes with a look toward discography’s future. From the little black book to the full-featured online database, More Important Than the Music offers a history not just of jazz discography but of the profoundly human desire to preserve history itself.

This research and information guide provides a wide range of scholarship on the life, career, and musical legacy of Miles Davis, and is compiled for an interdisciplinary audience of scholars in jazz and popular music, musicology, and cultural studies. It serves as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.

From the 1920s through the 1960s, Pittsburgh’s Hill District was the heart of the city’s Black cultural life and home to a vibrant jazz scene. In Jazz in the Hill: Nightlife and Narratives of a Pittsburgh Neighborhood, Colter Harper looks at how jazz shaped the neighborhood and created a way of life. Beyond backdrops for remarkable careers, jazz clubs sparked the development of a self-determined African American community. In delving into the history of entrepreneurialism, placemaking, labor organizing, and critical listening in the Hill District, Harper forges connections to larger political contexts, processes of urban development, and civil rights struggles. Harper adopts a broad approach in thinking about jazz clubs, foregrounding the network of patrons, business owners, and musicians who were actively invested in community building. Jazz in the Hill provides a valuable case study detailing the intersections of music, political and cultural history, public policy, labor, and law. The book addresses distinctive eras and issues of twentieth century American urban history, including notions of “vice” during the Prohibition Era (1920–1934); “blight” during the mid-twentieth century boom in urban redevelopment (1946–1973); and workplace integration during the civil rights era (1954–1968). Throughout, Harper demonstrates how the clubs, as a nexus of music, politics, economy, labor, and social relations, supported the livelihood of residents and artists while developing cultures of listening and learning. Though the neighborhood has undergone an extensive socioeconomic transformation that has muted its nightlife, this musical legacy continues to guide current development visions for the Hill on the cusp of its remaking.

LENARD C. BOWIE, DMA ASSOCIATE PROFESSOR OF MUSIC, RETIRED THE UNIVERSITY OF NORTH FLORIDA JACKSONVILLE , FLORIDA Dr. Lenard C. Bowie has developed an enviable reputation as a consummate musician. He is a classical trumpet artist, accomplished band director, effective music administrator, skilled lecturer and publi shed author. As an author, Bowie's expertise in several fields of endeavor has been documented through the following subjects, as published in the professional music journals indicated: "Solving Problems of Young Trumpet Players, " published in the Music Educators National Journal (December, J979) , a critical review of "Black University Marching Bands in the 80's." published by The Marching Band (January, 198 1), and the Proceedings of an Informal Research Conference whose mission was to document the extent to which African American music courses were offered in Florida's Public Schools was published by the Florida Music Educator (June, 2002). As an undergraduate, Bowie was plagued bymany questions concerning the absence of formal instruction in the music of his people, especially when considering the fact that there were only two authentic types of American music -- that of the American Indians and that of African Americans, with African American Music being the most important of the two. Bowie's search for answers to his probing questions began when he enrolled in Professor Willie Ruffs course in Black Music as a graduate student at Yale University in 1974. This course opened Bowie's eyes, ears and mind to many of his here-to-fore unanswered questions; including the extent to which African music traditions are practiced in African American Music today, and the impact that African American Music has made on the social, political, economic, and religious climates of modern American Society. After graduating from Yale with a Master of Musical Arts Degree in 1976, Bowie struck out on a mission to enlarge on what he had learned about African American Music.This mission brought him in contact with a wealth of information through independent study of numerous publications and documentaries; lectures, festivals, concerts; and personal contacts with scholars who were, or have become, major players in the research, dissemination, performance and composition of African American Music. Some of these scholars include former colleagues Dr.Oily W. Wilson, composer and Chair of Composition at UCLA , Berkeley, Samuel Floyd, Founder and Director of the Center for Black Music Research, found at Fisk University, now housed at ColumbiaCollege,Chicago,Dr. AaronHorne,AfricanAmericanMusic Biographer and Dean of Fine Arts, Winston Salem Unive rsity, North Caro lina, Aramentha Adams - Hummings, Founder and Director ofthe Gateways Music Festival , initiated at the North Carolina School of the Arts, now housed at the East man School of Music in Rochester,New York, Operatic Tenor and Music Educator, the late Dr. William A, Brown. Others include Dr. Portia Maultsby, Professor of Music at Indiana University, Dr. Dena Epstein, Retired Music Librarian, Archival Researcher and Author, Chicago, Dr. Rene Boyer-White, Professor of Music Education, College-Conservatory of Music, The University of Cincinnati, and Dr. John Smith, Dean of Fine Arts, The Univers ity of South Florida at Tampa. During the first of Dr. Bowie's two terms as Music Department Chair at The University of North Florida, he was afforded an opportunity to apply and distribute his long sought know ledge. The opportunity came in the form ofa Mill ion Dollar Endowment from the Koger Company to develop programs of study in American Music. The response of the faculty to the endowmentwas to institute two programs: a Jazz Studies Program and a program in African American Music. The Jazz Studies Program has become nationally recognized for outstanding achievements in jazz theory, history and performance. The latter program , designed and developed by Bowie, was chall