Kamenoi [sic] ostrow : cloister scene ; op. 10 no. 22 /

Caption title.

Hänsel und Gretel = fairy opera. Angel scene /

Caption title.

Eine Carneval Scene. Op. 5.

Mode of access: Internet.

Ditson's music for the photoplay

For orchestra.

Faschingsschwank aus Wien = (Vienna carnival-scene) : op. 26 /

Mode of access: Internet.

Papillon = Maskenball Scene : Characterstück : für Violoncello mit Begleitung des Orchesters oder Pianoforte, op. 3, no.4 /

Cover title.

The wand of youth : music to a child's play : first suite : op. 1A /

Originally for orchestra.

La Bohème : scene da La vie de Bohème di Henry Murger, opera completa per canto e pianoforte /

Mode of access: Internet.

Cousin Josiah, a musical sketch in one scene ... To which is added a description of the costumes, cast of the characters ... and the whole of the stage business ...

Without music.

Heroic scene (The revolt of the Greeks)

Mode of access: Internet.

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.