{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/81515"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/81515","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Hep: Jazz Modernisms","abstract":"\"The \"\"jive dictionaries\"\" of the late 1930s and early 1940s provide a unique perspective on commercial jazz's last gasp. For some time, the language of Harlem and its musicians had been troped in the popular press as a counter-modern force (a move critiqued by Rudolph Fisher, Eudora Welty, and others). But Mezz Mezzrow, Cab Calloway, Slim Gaillard, and other musicians published mock-scholarly guides to their talk---guides both about jive, and themselves \"\"jive\"\"---that put the emerging art, folk, and subcultural discourses surrounding jazz into unsettling play with a residual sense of the music as a form grappling, head-on, with a modern, national economy.\"","abstract_html":""The ""jive dictionaries"" of the late 1930s and early 1940s provide a unique perspective on commercial jazz's last gasp. For some time, the language of Harlem and its musicians had been troped in the popular press as a counter-modern force (a move critiqued by Rudolph Fisher, Eudora Welty, and others). But Mezz Mezzrow, Cab Calloway, Slim Gaillard, and other musicians published mock-scholarly guides to their talk---guides both about jive, and themselves ""jive""---that put the emerging art, folk, and subcultural discourses surrounding jazz into unsettling play with a residual sense of the music as a form grappling, head-on, with a modern, national economy."","abstract_has_math":false,"creators":["Jerving, Ryan Ross"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Berube, Michael"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T20:15:52Z","date_published":"2015-09-25T20:15:52Z","updated_at":"2026-07-22T22:26:16Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9990028"],"render_values":[{"text":"(MiAaPQ)AAI9990028","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/81515","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Berube, Michael"]},{"key":"dc:creator","label":"Author","values":["Jerving, Ryan Ross"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T20:15:52Z","10000-01-01","2000"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/81515","(MiAaPQ)AAI9990028"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"The \"\"jive dictionaries\"\" of the late 1930s and early 1940s provide a unique perspective on commercial jazz's last gasp. 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