Given the size of the combined fields of French music and jazz, this bibliography is inevitably selective; there is no intention to provide comprehensive coverage. It contains predominantly books and journal articles that are referenced in the text, both subject-based and more critical, or methodological. It includes some published transcriptions of jazz loci relevant to the case studies, but does not generally list e-sources or websites due to their more transient nature.
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton University Press, 1988).
Abbate, Carolyn, ‘Outside Ravel’s Tomb’, Journal of the American Musicological Society, 52/3 (Fall 1999), 465–530.
Adorno, Theodor W., ‘On Jazz [1936]’, in Essays on Music, ed. Richard Leppert and Eng. trans. Susan H. Gillespie (Berkeley and Los Angeles, CA: University of California Press, 2002), 470–95.
Aikin, Jim, ‘Bill Evans [transcriptions]’, Contemporary Keyboard, 6/6 (June 1980), 44–55.
Ake, David, ‘Learning Jazz, Teaching Jazz’, in Mervyn Cooke and David Horn (eds.), The Cambridge Companion to Jazz (Cambridge University Press, 2002), 255–69.
Ansermet, Ernest, ‘Sur un orchestre nègre’, La Revue romande, no. 10 (15 October 1919), 10–13.
Arbey, Dominique, ‘Poulenc et le jazz’, Les Cahiers de Francis Poulenc, 3 (2011), 129–33.
Archer-Shaw, Petrine, Negrophilia: Avant-Garde Paris and Black Culture in the 1920s (London: Thames and Hudson, 2000).
Armstrong, Louis, Satchmo: My Life in New Orleans (New York: Prentice-Hall, 1954).
Armstrong, Louis, ‘What Is Swing?’, in Robert Walser (ed.), Keeping Time: Readings in Jazz History (New York: Oxford University Press, 1999), 73–6.
Baker, David N. (ed.), New Perspectives on Jazz (Washington DC: Smithsonian Institution Press, 1990).
Baker, David N., Lida Belt and Herman C. Hudson (eds.), The Black Composer Speaks (Metuchen, NJ and London: Scarecrow Press, 1978).
Bakhtin, Mikhail, Problems of Dostoevsky’s Poetics, ed. and Eng. trans. Caryl Emerson (Minneapolis, MN: University of Minnesota Press, 1984).
Bakriges, Christopher George, ‘African American Musical Avant-gardism’, PhD dissertation (York University, 2001).
Barham, Jeremy, ‘Rhizomes and Plateaus: Rethinking Jazz Historiography and the Jazz–“Classical” Relationship’, Jazz Research Journal, 3/2 (2009), 171–202.
Barrett, Samuel, ‘Kind of Blue and the Economy of Modal Jazz’, Popular Music, 25/2 (May 2006), 185–200.
Barthes, Roland, ‘The Death of the Author’, in Image, Music, Text, Eng. trans. Stephen Heath (London: Fontana Press, 1977), 142–8.
Bauer, Marion, ‘L’Influence du jazz-band’, La Revue musicale, 5 (1 April 1924), 31–6.
Bellman, Jonathan (ed.), The Exotic in Western Music (Boston, MA: Northeastern University Press, 1998).
Benjamin, Walter, ‘L’Œuvre d’art à l’époque de sa reproduction mécanisée’, French trans. Pierre Klossowski, in Zeitschrift für Sozialforschung (Paris: Félix Alcan, 1936), vol. V, 40–68.
Berardinelli, Paula, ‘Bill Evans: His Contributions as a Jazz Pianist and an Analysis of His Musical Style’ (PhD dissertation, New York University, 1992).
Berendt, Joachim E., The Jazz Book: From Ragtime to Fusion and Beyond (Westport, CT: Lawrence Hill, 1982).
Berlin, Edward A., Ragtime: A Musical and Cultural History (Berkeley and Los Angeles, CA: University of California Press, 1980).
Berlin, Edward A., King of Ragtime: Scott Joplin and His Era (New York: Oxford University Press, 1994).
Berlin, Edward A., ‘Ragtime’, in Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, 29 vols. (London: Macmillan, 2001), vol. XX, 755–9.
Berliner, Paul F., Thinking in Jazz: The Infinite Art of Improvisation (University of Chicago Press, 1994).
Berton, Ralph, Remembering Bix: A Memoir of the Jazz Age (New York: W. H. Allen Press, 1974; reprinted Da Capo Press, 2000).
Bhabha, Homi K., The Location of Culture (London: Routledge, 1994).
Birtwistle, Andy, ‘Marking Time and Sounding Difference: Brubeck, Temporality and Modernity’, Popular Music, 29/3 (2010), 351–71.
Bizet, René, ‘Le Music-hall: La Revue nègre’, Candide (8 October 1925), 8.
Blake, Jody, Le Tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930 (University Park, PA: Pennsylvania University Press, 1999).
Bloom, Harold, The Anxiety of Influence: A Theory of Poetry (New York: Oxford University Press, 1973).
Bloom, Harold, A Map of Misreading, revised edition (New York: Oxford University Press, 2003; orig. publ. 1975).
Born, Georgina, and David Hesmondhalgh (eds.), Western Music and Its Others: Difference, Representation, and Appropriation in Music (Berkeley and Los Angeles, CA: University of California Press, 2000).
Boulez, Pierre, ‘Speaking, Playing, Singing’, in Orientations: Collected Writings, ed. Jean-Jacques Nattiez and Eng. trans. Martin Cooper (Cambridge, MA: Harvard University Press, 1986), 330–43.
Bourdieu, Pierre, Outline of a Theory of Practice, Eng. trans. Richard Nice (Cambridge University Press, 1977).
Bowie, Andrew, ‘Jazz’, in J. P. E. Harper-Scott and Jim Samson (eds.), An Introduction to Music Studies (Cambridge University Press, 2009), 176–85.
Bowman, Wayne D., ‘Music as Social and Political Force’, in Philosophical Perspectives on Music (Oxford and New York: Oxford University Press, 1998), 304–55.
Britt, Stan, ‘The River Stops Flowing’, Jazz Journal International, 33/11 (1980), 15.
Brody, Elaine, Paris: The Musical Kaleidoscope 1870–1925 (London: Robson Books, 1988).
Brooks, George Benson, ‘George Russell’, Jazz Review, 3/2 (February 1960), 38–9.
Brothers, Thomas (ed.), Louis Armstrong in His Own Words: Selected Writings (New York: Oxford University Press, 2001).
Brown, Matthew, Debussy Redux: The Impact of His Music on Popular Culture (Bloomington, IN: Indiana University Press, 2012).
Brubeck, Darius, ‘1959: The Beginning of Beyond’, in Mervyn Cooke and David Horn (eds.), The Cambridge Companion to Jazz (Cambridge University Press, 2002), 177–201.
Brubeck, Dave, ‘Jazz’s Evolvement as Art Form’, Down Beat, 17/1 and 17/2 (27 January 1950), 12, 15.
Brubeck, Dave, ‘Jazz Perspective [1951]’, Perspectives U.S.A., 15 (Spring 1956), 22–8; reprinted in David Meltzer (ed.), Reading Jazz (San Francisco, CA: Mercury House, 1993), 202–7.
Brubeck, Dave, Doug Ramsey and Juul Anthonissen, Liner notes for Time Signatures: A Career Retrospective (Columbia/AllMusic C4K52945, 1992).
Bruhn, Siglind, Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Ravel, Debussy, and Messiaen (Hillsdale, NY: Pendragon Press, 1997).
Buckland, Sidney, and Myriam Chimènes (eds.), Francis Poulenc: Music, Art and Literature (Aldershot: Ashgate, 1999).
Butler, Christopher, Early Modernism: Literature, Music and Painting in Europe 1900–1916 (Oxford: Clarendon Press, 1994).
Butler, Christopher, Modernism: A Very Short Introduction (Oxford University Press, 2010).
Caddy, Davinia, ‘Parisian Cake Walks’, 19th-Century Music, 30/3 (Spring 2007), 288–317.
Carew, Les, ‘How Are the Mighty … ?’ Nostalgia, 10/40 (October 1990), 19–21.
Case, Brian, ‘The Quiet Innovator’, Melody Maker (27 September 1980), 28.
Cerchiari, Luca, Laurent Cugny and Franz Kerschbaumer (eds.), Eurojazzland: Jazz and European Sources, Dynamics, and Contexts (Boston, MA: Northeastern University Press, 2012).
Cerulli, Dom, ‘George Russell’, Down Beat, 25/10 (29 May 1958), 15–16.
Chefdor, Monique, Blaise Cendrars (Boston, MA: Twayne, 1980).
Citron, Marcia J., Cécile Chaminade: A Bio-Bibliography (Westport, CT: Greenwood Press, 1988).
Clement, Brett, ‘Modal Tonicization in Rock: The Special Case of the Lydian Scale’, Gamut, 6/1 (2013), 95–142.
Cocteau, Jean, Le Coq et l’arlequin (Paris: Éditions de la Sirène, 1918); reprinted in Œuvres complètes deJeanCocteau, 11 vols. (Paris: Marguerat, 1946–51), vol. IX (Le Rappel à l’ordre), 13–69; Eng. trans. as ‘The Cock and the Harlequin’, in A Call to Order, trans. Rollo H. Myers (New York: Haskell House, 1974).
Cocteau, Jean, Portraits-souvenir, 1900–1914 (Paris: Grasset, 1935).
Cocteau, Jean, Correspondance Jean Cocteau-Darius Milhaud, eds. Pierre Caizergues and Josiane Mas (Montpellier: Université Paul Valéry, 1992).
Cœuroy, André, and André Schaeffner, Le Jazz (Paris: Éditions Claude Aveline, 1926).
Collaer, Paul, Darius Milhaud (Paris and Geneva: Éditions Slatkine, 1982); ed. and Eng. trans. Jane Hohfeld Galante (San Francisco, CA: San Francisco Press, 1988).
Collier, James Lincoln, Louis Armstrong: An American Genius (New York: Oxford University Press, 1983).
Cook, Nicholas, ‘Theorizing Musical Meaning’, Music Theory Spectrum, 23/2 (Fall 2001), 170–95.
Cooke, Mervyn, Jazz (London: Thames and Hudson, 1998).
Cooke, Mervyn, ‘Jazz among the Classics, and the Case of Duke Ellington’, in Mervyn Cooke and David Horn (eds.), The Cambridge Companion to Jazz (Cambridge University Press, 2002), 153–73.
Cotro, Vincent, Laurent Cugny and Philippe Gumplowicz (eds.), La Catastrophe apprivoisée: Regards sur le jazz en France, Jazz en France (Paris: Outre Mesure, 2013).
Cowley, John H., ‘Don’t Leave Me Here: Non-Commercial Blues: The Field Trips, 1924–60’, in Lawrence Cohn (ed.), Nothing But the Blues: The Music and the Musicians (New York: Abbeville Press, 1993).
Curtis, Susan, Dancing to a Black Man’s Tune: A Life of Scott Joplin (Columbia, MO: University of Missouri Press, 1994).
Dauer, Alfons Michael, ‘Das Lydisch-Chromatische Tonsystem von George Russell und seine Anwendung’, Jazzforschung, 14 (1982), 61–132.
Davis, Francis, Jazz and Its Discontents: A Francis Davis Reader (New York: Da Capo Press, 2004).
Davis, Miles, Kind of Blue, transcribed scores by Rob Du Boff, Mark Vinci, Mark Davis and Josh Davis (Milwaukee, WI: Hal-Leonard, n.d. [c.2000]).
Davis, Miles, with Quincy Troupe, Miles: The Autobiography (London: Macmillan, 1989).
Dawdy, Shannon Lee, Building the Devil’s Empire: French Colonial New Orleans (University of Chicago Press, 2008).
Debussy, Claude, Monsieur Croche et autres écrits, ed. François Lesure (Paris: Gallimard, 1971).
Debussy, Claude, Letters, ed. François Lesure, Eng. trans. Roger Nichols (London: Faber and Faber, 1987).
Delage, Maurice, ‘La Musique du jazz’, Revue Pleyel (April 1926), 18–20.
Delaunay, Charles, Hot Discography (Paris: Hot Jazz, 1936).
Deleuze, Gilles, and Félix Guattari, A Thousand Plateaus, Eng. trans. Brian Massumi (London and New York: Continuum, 2004).
DeLong, Thomas A., Pops: Paul Whiteman, King of Jazz (Piscataway: New Century Publishers, 1983).
Derrida, Jacques, ‘Différance’, in Margins of Philosophy, Eng. trans. Alan Bass, (University of Chicago Press, 1982), 1–27.
Derrida, Jacques, ‘
The Other’s Language: Jacques Derrida Interviews Ornette Coleman, 23 June 1997’, Eng. trans.
Timothy S. Murphy,
Genre,
36 (Summer
2004),
319–29; originally published in
Les Inrockuptibles, 115 (20 August–2 September 1997), 37–40, 43; reproduced at
Jazz Studies Online:
http://jazzstudiesonline.org/.
DeVoto, Mark, ‘Harmony in the Chamber Music’, in Deborah Mawer (ed.), The Cambridge Companion to Ravel (Cambridge University Press, 2000), 97–117.
Dickinson, Peter, Marigold: The Music of Billy Mayerl (Oxford and New York: Oxford University Press, 1999).
Drake, Jeremy, The Operas of Darius Milhaud (New York and London: Garland Press, 1989).
Dregni, Michael, Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing (New York: Oxford University Press, 2008).
Druskin, Mikhail, Igor Stravinsky: His Personality, Works and Views, Eng. trans. Martin Cooper (Cambridge University Press, 1983).
Duchesneau, Michel, ‘La Revue musicale (1920–40) and the Founding of a Modern Music’, in Zdravko Blažekovic and Barbara Dobbs Mackenzie (eds.), Music’s Intellectual History, RILM Perspectives I (New York: Répertoire International de Littérature Musicale, 2009), 743–50.
Duhamel, Georges, America the Menace: Scenes from the Life of the Future, Eng. trans. Charles Miner Thompson (London: George Allen and Unwin, 1931).
Dunsby, Jonathan, ‘Criteria of Correctness in Music Theory and Analysis’, in Anthony Pople (ed.), Theory, Analysis and Meaning in Music (Cambridge University Press, 1994), 77–85.
Eliot, T. S., ‘Tradition and the Individual Talent [1919]’, Selected Essays (London: Faber, 1951), 13–22; reprinted in Perspecta, 19 (1982), 36–42.
Eliot, T. S.Selected Prose, ed. Frank Kermode (New York: Harcourt Brace, 1975).
Ellington, Edward Kennedy, ‘Certainly It’s Music!’, Listen, IV/12 (October 1944), 5–6; reprinted in Mark Tucker (ed.), The Duke Ellington Reader (New York: Oxford University Press, 1993), 246–8.
Ellington, Edward Kennedy, Music Is My Mistress (New York: Doubleday, 1973; reprinted Da Capo Press, 1976).
Enstice, Wayne, and Paul Rubin, Jazz Spoken Here: Conversations with Twenty-Two Musicians (Baton Rouge: Louisiana State University Press, 1992; New York: Da Capo Press, 1994).
Evans, Bill, Liner notes for Miles Davis, Kind of Blue (New York: Columbia CL 1355, 1959; reissued Columbia/Legacy CK 64935, 1997).
Evans, Philip R., and Linda K. Evans, Bix: The Leon Bix Beiderbecke Story (Bakersfield, CA: Prelike Press, 1998).
Fairweather, Digby, Ian Carr and Brian Priestley, Jazz: The Essential Companion (London: Grafton, 1987); revised as Jazz: TheRough Guide, second edition (London: Rough Guides, 2000).
Fauconnier, Gilles, and Mark Turner, The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities (New York: Basic Books, 2002).
Feather, Leonard, ‘Dave Brubeck, Composer’, Down Beat, 33/13 (30 June 1966), 18–20.
Forte, Allen, ‘Pitch-Class Set Genera and the Origin of Modern Harmonic Species’, Journal of Music Theory, 32 (1988), 187–270.
Fourquet, Philippe, ‘De l’impressionisme dans le jazz: Une étude de l’influence du langage musical français du début de la siècle sur les musiciens de jazz américains, de Bix Beiderbecke à Bill Evans’ (Master’s dissertation, Université de Paris IV [Sorbonne], 1993).
Fréjaville, Gustave, ‘L’Orchestre du Dr Moreau’, Débats (9 June 1927), n.p.
Fry, Andy M., ‘“De la musique nègre au jazz français”: African-American Music and Musicians in Interwar France’ (D.Phil. dissertation, University of Oxford, 2003).
Fry, Andy M., ‘Re-thinking the Revue nègre: Black Musical Theatre in Interwar Paris’, in Julie Brown (ed.), Western Music and Race (Cambridge University Press, 2007), 258–75.
Fry, Andy M., ‘Remembrance of Jazz Past: Sidney Bechet in France’, in Jane F. Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music (New York: Oxford University Press, 2011), 307–31.
Fry, Andy M., Paris Blues: African American Music and French Popular Culture 1920–1960 (University of Chicago Press, 2014).
Gabbard, Krin (ed.), Jazz among the Discourses (Durham, NC: Duke University Press, 1995).
Gates Jr, Henry Louis, The Signifying Monkey: A Theory of African-American Literary Criticism (New York: Oxford University Press, 1988).
Gerber, Alain, Bill Evans (Paris: Librairie Arthème Fayard, 2001).
Gilbert, Steven, The Music of Gershwin (New Haven, CT and London: Yale University Press, 1995).
Ginibre, Jean-Louis, ‘Il parle, le trio dont on parle’, Jazz Magazine, 116 (March 1965), 28–33; reprinted and translated as ‘Bill Evans: Time Remembered’, JazzTimes, 27/1 (February 1997), 32–5, 38, 144–5.
Gioia, Ted, The Imperfect Art: Reflections of Jazz and Modern Culture (New York: Oxford University Press, 1988).
Gioia, Ted, West Coast Jazz: Modern Jazz in California, 1945–1960 (New York and Oxford: Oxford University Press, 1992).
Gleason, Ralph J., ‘Brubeck’, Down Beat, 24/15 (25 July 1957), 13–14, 54.
Gleason, Ralph J., ‘David Brubeck Remembers: “They Said I Was Too Far Out”’, Down Beat, 25/16 (8 August 1957), 17–19, 39.
Goffin, Robert, Aux frontières du jazz, second edition (Paris: Éditions du Sagittaire, 1932).
Goffin, Robert, Louis Armstrong, le roi du jazz (Paris: Pierre Seghers, 1947); Eng. trans. as Horn of Plenty: The Story of Louis Armstrong, trans. James F. Bezou (New York: Allen, Towne & Heath, 1947).
Gorbman, Claudia, Unheard Melodies: Narrative Film Music (Bloomington, IN: Indiana University Press, 1987).
Gordon, Max, Live at the Village Vanguard (New York: Da Capo Press, 1980).
Gottlieb, Robert (ed.), Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now (University of Chicago Press, 1996; London: Bloomsbury, 1997).
Grant, Madison, The Passing of a Great Race, fourth edition (London and New York: G. Bell & Sons, 1921).
Gridley, Mark, Jazz Styles: History and Analysis, fourth edition (Englewood Cliffs, NJ: Prentice-Hall, 1994).
Griffiths, Paul, Modern Music: A Concise History from Debussy to Boulez (London: Thames and Hudson, 1986).
Griffiths, Paul, Modern Music and After, third edition (New York: Oxford University Press, 2010).
Guerpin, Martin, ‘Why Did Art Music Composers Pay Attention to “Jazz”? The Impact of “Jazz” on the French Musical Field, 1908–24’, in Luca Cerchiari, Laurent Cugny and Franz Kerschbaumer (eds.), Eurojazzland: Jazz and European Sources, Dynamics, and Contexts (Boston, MA: Northeastern University Press, 2012), 47–80.
Guerpin, Martin, ‘Bricktop, le jazz et la mondanité (1926–1936)’, in Vincent Cotro, Laurent Cugny and Philippe Gumplowicz (eds.), La Catastrophe apprivoisée: Regards sur le jazz en France, Jazz en France (Paris: Outre Mesure, 2013), 33–55.
Gumplowicz, Philippe, ‘Hugues Panassié 1930–1934: une cause et un système’, in Cotro, Cugny and Gumplowicz (eds.), La Catastrophe apprivoisée, 113–19.
Häger, Bengt, Ballets Suédois (London: Thames and Hudson, 1990).
Hajdu, David, Lush Life: A Biography of Billy Strayhorn (New York: Farrar, Straus & Giroux, 1997).
Hall, Fred M., It’s About Time: The Dave Brubeck Story (Fayetteville, AR: University of Arkansas Press, 1996).
Handy, W. C., Father of the Blues: An Autobiography, ed. Arna Bontemps (New York: Macmillan, 1941).
Haney, Lynn, Naked at the Feast: A Biography of Josephine Baker (London: Robson Books, 1981).
Hardie, Daniel, Jazz Historiography: The Story of Jazz History Writing (Bloomington, IN: iUniverse, 2013).
Harrison, Charles, Primitivism, Cubism, Abstraction: The Early Twentieth Century (New Haven and London: Yale University Press/Open University Press, 1993).
Harrison, Max, ‘George Russell – Rational Anthems, Phase One’, The Wire, 3 (Spring 1983), 30–1.
Haydon, Geoffrey Jennings, ‘A Study of the Exchange of Influences between the Music of Early Twentieth-Century Parisian Composers and Ragtime, Blues, and Early Jazz’, DMA dissertation (University of Texas at Austin, 1992).
Heining, Duncan, George Russell: The Story of an American Composer (Lanham, MD: Scarecrow Press, 2010).
Helgeland, Kirsten Joan, ‘Jazz and the Classics: A Study of American Crossover Solo Piano Works from 1920 to 1935’, PhD dissertation (University of Cincinnati, 1999).
Hendler, Maximilian, ‘Gedanken zum “Lydischen Konzept”’, Jazzforschung, 16 (1984), 163–71.
Hennessey, Brian, ‘Bill Evans: A Person I Knew’, Jazz Journal International, 38/3 (March 1985), 8–11; part 2 (October 1985), 11–13.
Hentoff, Nat, ‘Introducing Bill Evans’, Jazz Review, 2/9 (1959), 26–8.
Heyman, Barbara, ‘Stravinsky and Ragtime’, The Musical Quarterly, 68/4 (October 1982), 543–62.
Hindemith, Paul, The Craft of Musical Composition, 2 vols., fourth edition (Mainz and London: Schott, 1942), vol. I: Theory.
Hodeir, André, Hommes et problèmes du jazz (Paris: Portulan, 1954; reprinted Marseille: Parenthèses, 1996); Eng. trans. as Jazz: Its Evolution and Essence, trans. David Noakes (London: Jazz Book Club, 1958).
Hodeir, André, ‘Perspective of Modern Jazz: Popularity or Recognition?’, Down Beat, 26/17 (20 August 1959), 40–2.
Hoefer, George, ‘The Magnificent Gypsy’, Down Beat, 33/14 (14 July 1966), 21–2, 25.
Hoerée, Arthur, ‘Le Jazz’, La Revue musicale, 8 (1 October 1927), 213–41.
Horsham, Michael, ’20s & ’30s Style (London: Grange Books, 1994).
Howat, Roy, The Art of French Piano Music: Debussy, Ravel, Fauré, Chabrier (New Haven, CT and London: Yale University Press, 2009).
Huddleston, Sisley, Back to Montparnasse: Glimpses of Broadway in Bohemia (Philadelphia, PA and London: J. B. Lippincott, 1931).
Huret, Jules, En Amérique – De New-York à la Nouvelle-Orléans (Paris: Fasquelle, 1904).
Hyde, Martha, ‘Neoclassic and Anachronistic Impulses in Twentieth-Century Music’, Music Theory Spectrum, 18/2 (1996), 200–35.
Hylton, Jack, ‘The British Touch’, Gramophone (September 1927), 146.
Hylton, Jack, (in interview with Perceval Graves) ‘Taking or Inflicting Pains’, Melody Maker and British Metronome (May 1928), 513–14.
Hylton, Jack, ‘Over Hurdles – Into Ditches: What Bands Should Avoid and What’s Wanted’, Melody Maker (October 1929), 921.
Hylton, Jack, ‘Naissance et vie du jazz’, Le Courrier musical et théâtral (15 March 1932), n.p.
Hylton, Jack, ‘The High Finance of Jazz’, Rhythm, 13/136 (January 1939), 3–7.
Ioakimidis, Demètre, ‘Bill Evans … ou l’art pour l’art’, Jazz hot, 161 (January 1961), 14–17.
Israels, Chuck, ‘Bill Evans (1929–1980): A Musical Memoir’, The Musical Quarterly, 71/2 (1985), 109–15.
Ivry, Benjamin, Maurice Ravel: A Life (New York: Welcome Rain, 2000).
Jackson, Jeffrey H., ‘Making Jazz French: The Reception of Jazz Music in Paris, 1927–1934’, French Historical Studies, 25/1 (Winter 2002), 149–70.
Jackson, Jeffrey H., Making Jazz French: Music and Modern Life in Interwar Paris (Durham, NC and London: Duke University Press, 2003).
James, Burnett, ‘The Impressionism of Duke Ellington’, Jazz Monthly, 3/8 (October 1957), 5–7.
Jarocinski, Stefan, Debussy: Impressionism and Symbolism, Eng. trans. Rollo Myers (London: Eulenberg Books, 1976).
Jeanneret, Albert, ‘Le Nègre et le jazz’, La Revue musicale, 8 (1 July 1927), 24–7.
Jeanquartier, André, ‘Kritische Anmerkungen zum “Lydian Chromatic Concept”’, Jazzforschung, 16 (1984), 9–41.
Jenkins, Todd S., I Know What I Know: The Music of Charles Mingus (Westport, CT and London: Praeger, 2006).
Jones, Olive, ‘Conversation with … George Russell: A New Theory for Jazz’, Black Perspective in Music, 2/1 (Spring 1974), 63–74.
Jordan, Matthew F., Le Jazz: Jazz and French Cultural Identity (Urbana, IL: University of Illinois Press, 2010).
Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece (London: Granta Books, 2000).
Keil, Charles, Urban Blues (University of Chicago Press, 1966; reprinted 1991).
Kelly, Barbara L., ‘History and Homage’, in Deborah Mawer (ed.), The Cambridge Companion to Ravel (Cambridge University Press, 2000), 7–26.
Kelly, Barbara L., Tradition and Style in the Works of Darius Milhaud, 1912–1939 (Aldershot: Ashgate, 2003).
Kelly, Barbara L., Music and Ultra-Modernism in France: A Fragile Consensus, 1913–1939 (Woodbridge: Boydell & Brewer, 2013).
Kernfeld, Barry, ‘Improvisation’, in What to Listen for in Jazz (New Haven, CT and London: Yale University Press, 1995), 119–58.
Kernfeld, Barry, (ed.), The New Grove Dictionary of Jazz, second edition, 3 vols. (New York: Oxford University Press, 2002).
Kernfeld, Barry, ‘Blues Progression’, in Barry Kernfeld (ed.), The New Grove Dictionary of Jazz, second edition, 3 vols. (New York: Oxford University Press, 2002), vol. I, 255–6.
Kernfeld, Barry, ‘Miles (Dewey, III), Davis’, in Barry Kernfeld (ed.), The New Grove Dictionary of Jazz, second edition, 3 vols. (New York: Oxford University Press, 2002), vol. I, 573–7.
Kerschbaumer, Franz, ‘Impressionistische Strukturen im Jazz’, Jazzforschung, 31 (1999), 65–74.
Klein, Jean-Claude, and J. Barrie Jones, ‘Borrowing, Syncretism, Hybridisation: The Parisian Revue of the 1920s’, Popular Music, 5 (1985), 175–87.
Klein, Michael L., Intertextuality in Western Art Music (Bloomington, IN: Indiana University Press, 2005).
Knox, Keith, ‘Bill Evans – An Introduction’, Jazz Monthly, 12/8 (1966), 5–7.
Korsyn, Kevin, ‘Towards a New Poetics of Musical Influence’, Music Analysis, 10/1 (1991), 3–72.
Kramer, Lawrence, Music as Cultural Practice, 1800–1900 (Berkeley and Los Angeles, CA: University of California Press, 1990).
Kramer, Lawrence, Classical Music and Postmodern Knowledge (Berkeley and Los Angeles, CA: University of California Press, 1995).
Kramer, Lawrence, ‘Powers of Blackness: Africanist Discourse in Modern Concert Music’, Black Music Research Journal, 16/1 (Spring 1996), 53–70; reprinted as ‘Powers of Blackness: Jazz and the Blues in Modern Concert Music’, in Musical Meaning: Toward a Critical History (Berkeley and Los Angeles, CA: University of California Press, 2002), 194–215.
Kramer, Lawrence, ‘Chopin at the Funeral: Episodes in the History of Modern Death’, Journal of the American Musicological Society, 54 (Spring 2001), 97–125.
Kramer, Lawrence, Opera and Modern Culture, Wagner and Strauss (Berkeley and Los Angeles, CA: University of California Press, 2004).
Kramer, Lawrence, Interpreting Music (Berkeley and Los Angeles, CA: University of California Press, 2010).
Kulenovic, Vuk, ‘The Lydian Concept’, Sonus: A Journal of Investigations into Global Musical Possibilities, 14/1 (Fall 1993), 55–64.
Lago, Manoel Aranha Correa do, ‘Brazilian Sources in Milhaud’s Le Bœuf sur le toit: A Discussion and a Musical Analysis’, Latin American Music Review, 23/1 (Spring/Summer 2002), 1–59.
Lambert, Constant, Music Ho!: A Study of Music in Decline (London: Faber and Faber, 1934).
Lambert, G. E., ‘Bix Beiderbecke’, Jazz Monthly, 6/4 (June 1960), 7–8, 30.
Lane, Jeremy F., Jazz and Machine-Age Imperialism: Music, ‘Race,’ and Intellectuals in France, 1918–45 (Ann Arbor, MI: University of Michigan Press, 2013).
Langham Smith, Richard (ed.), Debussy Studies (Cambridge University Press, 1997).
Langham Smith, Richard, and François Lesure (eds.), Debussy on Music: The Critical Writings of the Great French Composer Claude Debussy (London: Martin Secker & Warburg, 1977).
Larson, Steve, ‘Schenkerian Analysis of Modern Jazz’, PhD dissertation, 3 vols. (University of Michigan, 1987); publ. as Analysing Jazz: A Schenkerian Approach, Harmonologica, Studies in Music Theory, 15 (Hillsdale, NY: Pendragon Press, 2009).
Larson, Steve, ‘Schenkerian Analysis of Modern Jazz: Questions about Method’, Music Theory Spectrum 20/2 (1998), 209–41.
Larson, Steve, ‘Composition versus Improvisation?’, Journal of Music Theory, 49/2 (2005), 241–75.
Larson, Steve, ‘Rhythmic Displacement in the Music of Bill Evans’, in David Gagné and Poundie Burstein (eds.), Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (Hillsdale, NY: Pendragon Press, 2006), 103–22.
Lees, Gene, ‘The Poet: Bill Evans’, in Meet Me at Jim and Andy’s: Jazz Musicians and Their World (Oxford University Press, 1988); reprinted in Robert Gottlieb (ed.), Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now (London: Bloomsbury, 1997), 419–44.
Lees, Gene, Cats of Any Color: Jazz, Black and White (New York and Oxford: Oxford University Press, 1995).
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