Edward Green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). An active composer, he received a 2009 Grammy nomination for his Piano Concertino (Best Contemporary Classical Composition) and a commission offered jointly by thirteen of America's major concert wind ensembles, which resulted in his 2012 Symphony for Band.

• Chronology Evan Spring; Editor's introduction: Ellington and Aesthetic Realism Edward Green; Part I. Ellington in Context: 1. Artful entertainment: Ellington's formative years in context John Howland; 2. The process of becoming: composition and recomposition David Berger; 3. Conductor of music and men: Duke Ellington through the eyes of his nephew Stephen D. James and J. Walker James; 4. Ellington abroad Brian Priestley; 5. Edward Kennedy Ellington as a cultural icon Olly W. Wilson and Trevor Weston; Part II. Duke Through the Decades: The Music and Its Reception: 6. Ellington's afro-modernist vision in the 1920s Jeffrey Magee; 7. Survival, adaptation and experimentation: Duke Ellington and his orchestra in the 1930s Andrew Berish; 8. The 1940s: The Blanton–Webster Band, Carnegie Hall, and the challenge of the postwar era Anna Harwell Celenza; 9. Duke in the 1950s: renaissance man Anthony Brown; 10. Ellington in the 1960s and 1970s: triumph and tragedy Dan Morgenstern; Part III. Ellington and the Jazz Tradition: 11. Ellington and the blues Benjamin Givan; 12. 'Seldom seen, but always heard': Billy Strayhorn and Duke Ellington Walter van de Leur; 13. Duke Ellington and the world of jazz piano Bill Dobbins; 14. Duke and descriptive music Marcello Piras; 15. Sing a song of Ellington, or, the accidental songwriter Will Friedwald; 16. The land of suites: Ellington and extended form David Berger; 17. Duke Ellington's legacy and influence Benjamin Bierman.

'This volume offers a treasure trove for musicologists. Though the depth of its entries ranges widely, several chapters constitute major contributions to musicology, on a par with the level of original research and interpretation ordinarily reserved for doctoral theses. It also features an excellent bibliography of selected readings and a comprehensive index.' Mark Gridley, Music Reference Services Quarterly

Edward Green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). An active composer, he received a 2009 Grammy nomination for his Piano Concertino (Best Contemporary Classical Composition) and a commission offered jointly by thirteen of America's major concert wind ensembles, which resulted in his 2012 Symphony for Band.

• Chronology Evan Spring; Editor's introduction: Ellington and Aesthetic Realism Edward Green; Part I. Ellington in Context: 1. Artful entertainment: Ellington's formative years in context John Howland; 2. The process of becoming: composition and recomposition David Berger; 3. Conductor of music and men: Duke Ellington through the eyes of his nephew Stephen D. James and J. Walker James; 4. Ellington abroad Brian Priestley; 5. Edward Kennedy Ellington as a cultural icon Olly W. Wilson and Trevor Weston; Part II. Duke Through the Decades: The Music and Its Reception: 6. Ellington's afro-modernist vision in the 1920s Jeffrey Magee; 7. Survival, adaptation and experimentation: Duke Ellington and his orchestra in the 1930s Andrew Berish; 8. The 1940s: The Blanton–Webster Band, Carnegie Hall, and the challenge of the postwar era Anna Harwell Celenza; 9. Duke in the 1950s: renaissance man Anthony Brown; 10. Ellington in the 1960s and 1970s: triumph and tragedy Dan Morgenstern; Part III. Ellington and the Jazz Tradition: 11. Ellington and the blues Benjamin Givan; 12. 'Seldom seen, but always heard': Billy Strayhorn and Duke Ellington Walter van de Leur; 13. Duke Ellington and the world of jazz piano Bill Dobbins; 14. Duke and descriptive music Marcello Piras; 15. Sing a song of Ellington, or, the accidental songwriter Will Friedwald; 16. The land of suites: Ellington and extended form David Berger; 17. Duke Ellington's legacy and influence Benjamin Bierman.

'This volume offers a treasure trove for musicologists. Though the depth of its entries ranges widely, several chapters constitute major contributions to musicology, on a par with the level of original research and interpretation ordinarily reserved for doctoral theses. It also features an excellent bibliography of selected readings and a comprehensive index.' Mark Gridley, Music Reference Services Quarterly

Edward Green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). An active composer, he received a 2009 Grammy nomination for his Piano Concertino (Best Contemporary Classical Composition) and a commission offered jointly by thirteen of America's major concert wind ensembles, which resulted in his 2012 Symphony for Band.

• Chronology Evan Spring; Editor's introduction: Ellington and Aesthetic Realism Edward Green; Part I. Ellington in Context: 1. Artful entertainment: Ellington's formative years in context John Howland; 2. The process of becoming: composition and recomposition David Berger; 3. Conductor of music and men: Duke Ellington through the eyes of his nephew Stephen D. James and J. Walker James; 4. Ellington abroad Brian Priestley; 5. Edward Kennedy Ellington as a cultural icon Olly W. Wilson and Trevor Weston; Part II. Duke Through the Decades: The Music and Its Reception: 6. Ellington's afro-modernist vision in the 1920s Jeffrey Magee; 7. Survival, adaptation and experimentation: Duke Ellington and his orchestra in the 1930s Andrew Berish; 8. The 1940s: The Blanton–Webster Band, Carnegie Hall, and the challenge of the postwar era Anna Harwell Celenza; 9. Duke in the 1950s: renaissance man Anthony Brown; 10. Ellington in the 1960s and 1970s: triumph and tragedy Dan Morgenstern; Part III. Ellington and the Jazz Tradition: 11. Ellington and the blues Benjamin Givan; 12. 'Seldom seen, but always heard': Billy Strayhorn and Duke Ellington Walter van de Leur; 13. Duke Ellington and the world of jazz piano Bill Dobbins; 14. Duke and descriptive music Marcello Piras; 15. Sing a song of Ellington, or, the accidental songwriter Will Friedwald; 16. The land of suites: Ellington and extended form David Berger; 17. Duke Ellington's legacy and influence Benjamin Bierman.

'This volume offers a treasure trove for musicologists. Though the depth of its entries ranges widely, several chapters constitute major contributions to musicology, on a par with the level of original research and interpretation ordinarily reserved for doctoral theses. It also features an excellent bibliography of selected readings and a comprehensive index.' Mark Gridley, Music Reference Services Quarterly