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首页> 外文学位 >'No room for squares': The hip and modern image of Blue Note Records, 1954-1967.
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'No room for squares': The hip and modern image of Blue Note Records, 1954-1967.

机译：“没有方格的空间”：Blue Note Records的时髦现代形象，1954-1967年。

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摘要

Between the years 1954 and 1967, at the height of hard bop and amidst a myriad of stylistic innovations in jazz, Alfred Lion and Francis Wolff sought to project an image of Blue Note Records as a distinctly hip and modern record label. They incorporated markers of hipness and modernity into the various aspects of their products, including marketing strategies, album sleeves (cover art, album and tune titles, and liner notes), and of course the music itself. This dissertation seeks to understand how Lion and Wolff created such a meaningful and lasting image by analyzing its constituent elements, determining how they represented contemporary ideas of hipness and modernity, and examining how the disparate musical styles that Blue Note recorded were incorporated into a single, coherent image.;Hipness is simultaneously a philosophy and the external styles and behaviors that express that philosophy. The specific markers of hipness that were available to Lion and Wolff were popularized by several hip subcultures active in the fifties and sixties, including jazz musicians, black and white hipsters, and the beats. While the hip styles of these subcultures varied, they all shared a hip worldview that emphasized individuality, nonconformity, spontaneity, authenticity, and direct, unmediated self-expression. The markers of modernity incorporated into Blue Note's image were visual, textual, and musical. They included cover art that features a Bauhaus-influenced minimalist approach to graphic design, liner notes that stress the modernist aesthetic duality of an artwork taking its place within a historical tradition while expressing the spirit of its own time, and musical styles that integrate the modern musical elements of bebop in the 1940s and modal and free jazz in the 1950s and1960s, as well as the Afro-Modern elements of blues, gospel, and other African American roots musics. Different combinations of these musics resulted in the styles of hard bop, soul jazz, free bop, and the New Thing that Blue Note recorded between 1954 and 1967. All four styles participate in the hip and modern image of Blue Note Records in slightly different but related ways.
机译：在1954年至1967年之间，由于动荡的高峰和爵士乐的众多风格创新，阿尔弗雷德·莱昂（Alfred Lion）和弗朗西斯·沃尔夫（Francis Wolff）试图将Blue Note Records的形象塑造成明显的时髦和现代唱片公司。他们在产品的各个方面都加入了时髦和现代性的标志，包括营销策略，专辑封面（封面艺术，专辑和乐曲标题以及衬里音符），当然还有音乐本身。本文旨在通过分析狮子和沃尔夫的构成元素，确定它们如何代表当代的时髦和现代主义思想，并研究Blue Note录制的不同音乐风格如何整合为一个狮子，来理解狮子和沃尔夫是如何创造出如此有意义且持久的图像的，连贯的形象。；髋关节既是一种哲学，又是表达该哲学的外部风格和行为。 Lion和Wolff可以使用的特定的臀部标志在20世纪60年代和60年代活跃于几种髋关节亚文化，包括爵士乐手，黑人和白人潮人以及节拍。尽管这些亚文化的髋关节风格各不相同，但它们都共享一种髋关节世界观，强调个性，不整合，自发性，真实性以及直接的，无中介的自我表达。 Blue Note图像中包含的现代性标志是视觉，文字和音乐性。其中包括封面艺术，采用包豪斯（Bauhaus）影响的极简主义图形设计方法；衬线笔记强调在历史传统中占据一席之地的现代主义美学二元性，同时表达其自身的时代精神；以及融合现代艺术的音乐风格1940年代bebop的音乐元素以及1950年代和1960年代的模态和自由爵士音乐，以及布鲁斯，福音和其他非裔美国人根源音乐的非洲现代元素。这些音乐的不同组合导致硬音，灵魂爵士，自由低音和Blue Note在1954年至1967年之间录制的新事物的风格。这四种风格在Blue Note Records的时髦和现代形象中均稍有不同，但相关方式。

著录项

  • 作者

    White, Alisa.;

  • 作者单位

    Indiana University.;

  • 授予单位 Indiana University.;
  • 学科 American Studies.;Music.;History United States.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 314 p.
  • 总页数 314
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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