Selected Jazz Haiku by James A. Emanuel

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Jazz Theory and Analysis. An Introduction and Brief Bibliography by Henry Martin

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The Lost Years: The Impact of Cirrhosis on the History of Jazz by Paul Adams

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Penser la musique, Écouter les images. Lectures de Cahiers d’art, Jazz et Documents sur le jazz et le cinéma américains by Diane Turquety

“…From 1926 to 1931, Cahiers d’art, Jazz and Documents, magazines on art or culture more generally, covered American jazz and cinema in a new way. …”
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Harmony versus Voicing. Modeling Local-Level Salience and Stability in Jazz after 1960 by Rich Pellegrin

“…This article considers the counterpoint in jazz between the implied, underlying form and what is actually played in a given performance. …”
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Longe do Paraíso: Jazz , de Toni Morrison, e Ponciá Vicêncio , de Conceição Evaristo by Ângela Maria Dias

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Ironía y parodia en la obra musical de Juan Antonio Rosado Rodríguez by Rolando A. Vilasuso-Montero

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"Creating continuity": Second congress of Lithuanian historians: discussion about different understanding strategies, building up scholars' community, "historical jazz" and future plans by Aurimas Švedas

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›Lead Sheet‹-Notation vom Vaudeville bis zum iReal Pro. Zur Geschichte der Notationsformen des Jazz und ihren musiktheoretischen Implikationen by Philipp Teriete

“…The lead sheet has been one of the most important forms of musical notation in the twentieth and twenty-first centuries. Jazz musicians are expected to sight-read and to improvise on standards and original compositions written in this musical shorthand. …”
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Coaching 5.0, coaching for the fifth industrial revolution by Jazz Rasool

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İNTERNETİN SANAT FESTİVALLERİNDE HALKLA İLİŞKİLER AMAÇLI KULLANIMI: 20. VE 21. İZMİR AVRUPA CAZ FESTİVALLERİ İZLEYİCİ ARAŞTIRMASI by Ferah Onat, Göker Gülay

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Henri Peretz : « Pourquoi et comment Chicago est devenue au début du vingtième siècle, la ville de l’avant-garde dans des domaines aussi différents que le jazz, la photographie, l’architecture ou encore la sociologie » by Sarah Leboime

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Philipp Teriete / Derek Remeš (Hg.), Das Universalinstrument. »Angewandtes Klavierspiel« aus historischer und zeitgenössischer Perspektive (The Universal Instrument. Historical and... by Reinhard Schäfertöns

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Pityopsis - Silkgrass by Gage LaPierre, Michael G Andreu, Jazz Griffis

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The challenges of consent in a decentralised metaverse: exploring ethically informed protections and standards to safeguard humans by Carl Hayden Smith, Judith Molka-Danielsen, Jean-Brunel Webb-Benjamin, Jazz Rasool

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Astor Piazzolla’s compositional and interpretive styling of his Tango Adiós Nonino across four decades of his career – insights into the emergence of Nuevo Tango by Gina-Mihaela Pavel

“…Argentinian musician Astor Piazzolla is best known and celebrated for reinventing traditional Argentinian tango as Nuevo Tango by inviting jazz and classical influences into his compositions and performances. …”
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Akkordstrukturen in George Gershwins Porgy and Bess by Liselotte Kunkel

“…Die farbige Jazz-Harmonik George Gershwins beruht auf einem charakteristischen Akkordrepertoire. …”
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Translating Topdog/Underdog, by Suzan-Lori Parks: Just another ‘Rep & Rev’? by Kathinka Salzmann

“…In particular, I shall seek to establish how a notion such as the ‘politically correct’ is questioned by the translatorial process, thus emphasising the translator’s ethical responsibility, while also showing how Parks grounds her writing in the idea of ‘repetition and revision’ characteristic of the Jazz aesthetic.…”
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El orquestín mestizo de Cusco by Luis Fernando Prudencio Mendoza

“…Básicamente, la conformación instrumental del orquestín comprende instrumentos melódicos, como la quena, el violín y la mandolina, instrumentos armónicos, como el pampapiano, el acordeón y el arpa, y un set de instrumentos rítmicos agrupados en un solo instrumento al que se denomina yasbán o jazz-band. Ocasionalmente, el orquestín puede incluir una trompeta con sordina o un saxofón como instrumento itinerante durante el pasacalle.…”
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Modelle der Akkordgrundtonbestimmung by Karl Traugott Goldbach

“…Am Beispiel dreier in der Jazz- und Popmusik häufig verwendeten Akkordfolgen – also eindeutig tonalen Verbindungen – werden in diesem Aufsatz alle sieben Modelle auf ihre Belastbarkeit getestet.…”
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