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The jazz image : seeing music through Herman Leonard's photography

Author: K Heather Pinson
Publisher: Jackson : University Press of Mississippi, ©2010.
Series: American made music series.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
Typically, a photograph of a jazz musician has several formal pre-requisites: black and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. This book reveals how such a steadfast script developed visually and what this convention meant for the music. Herman Leonard's photographic depictions of African American jazz musicians in New York not  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Portraits
Additional Physical Format: Print version:
Pinson, K. Heather.
Jazz image.
Jackson : University Press of Mississippi, ©2010
(DLC) 2009052114
(OCoLC)466361476
Named Person: Herman Leonard; Herman Leonard
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: K Heather Pinson
ISBN: 9781604734959 1604734957
OCLC Number: 659591361
Description: 1 online resource (xii, 240 pages) : illustrations.
Contents: The formation of the jazz image in visual culture --
The construction of signs in jazz photography --
Ceci n'est pas jazz : the battle for ownership --
A "style portrait" of the avant-garde --
The visual image of jazz --
Appendix A : Herman Leonard timeline 1923 to 2006 --
Appendix B : List of exhibitions for Herman Leonard's photography.
Series Title: American made music series.
Responsibility: K. Heather Pinson.

Abstract:

Typically, a photograph of a jazz musician has several formal pre-requisites: black and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. This book reveals how such a steadfast script developed visually and what this convention meant for the music. Herman Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neo-classical sound today.

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