struct a narrative that has only recently been constructed, especially one that serves such important purposes). But the time has come for an approach that is less invested in the ideology of jazz as aesthetic object and more responsive to issues of historical particularity. Only in this way can the study of jazz break free from its self-imposed isolation, and participate with other disciplines in the exploration of meaning in American culture.
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Ellison Ralph. Shadow and Act. New York: NAL, 1946.
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Kart Larry. "Provocative Opinion: The Death of Jazz?" Black Music Research Journal 10:1 ( 1990), pp. 76-81.
Martin Henry. Enjoying Jazz. New York: Schirmer, 1986.
Russell Ross. "Bebop." In Martin Williams, ed., The Art of Jazz, pp. 187-214. New York: Oxford University Press, 1959.
Sancton Thomas. "Horns of Plenty". Time, 22 October 1990, pp. 64-71.
Santoro Gene. "Miles Davies the Enabler: Part II". Down Beat, November 1988, pp. 16-19.
Taylor Billy. Jazz Piano: History and Development. Dubuque: Brown, 1982.
Tirro Frank. Jazz: A History. New York: W. W. Norton, 1977.