Freedom Sounds

Zusatztext In this brilliant, polyphonic rendering of the relationship of jazz to the civil rights movement, Monson offers a compelling account of the interplay of music, race, and aesthetic modernism in American history. The music itself is never tangential to her story; on the contrary, we see how it came to embody the very ethos of the struggle and the presumptions that nurtured it. Monson insists that jazz exemplifies the faith that inspired performance can break beyond existing artistic and social constraints, that it offers a vision of history relevant way beyond its time and place. The same might be said of this extraordinary book. Informationen zum Autor Ingrid Monson is the Quincy Jones Professor of African American Music, Supported by the Time Warner Endowment at Harvard University where she holds a joint appointment in the departments of Music and African and African American Studies. Her research interests include jazz, African American music, and the music of Mali. Klappentext Freedom Sounds addresses the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, and develops a new framework for thinking through the relationships among music, politics, aesthetics, and activism by carefully addressing the hot button racial and economic issues that generated contentious and soul-searching debate. Zusammenfassung Freedom Sounds addresses the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, and develops a new framework for thinking through the relationships among music, politics, aesthetics, and activism by carefully addressing the hot button racial and economic issues that generated contentious and soul-searching debate. Inhaltsverzeichnis 1.: Introduction 2.: Jim Crow, Economics, and the Politics of Musicianship 3.: Modernism, Race, and Aesthetics 4.: Africa, The Cold War and the Diaspora at Home 5.: Activism and Fundraising from Freedom Now to the Freedom Rides 6.: Activism and Fundraising from Birmingham to Black Power 7.: The Debate Within: White Backlash, The New Thing, and Economics 8.: Aesthetic Agency and Self-Determination 9.: Coda ...

Auteur
Ingrid Monson is the Quincy Jones Professor of African American Music, Supported by the Time Warner Endowment at Harvard University where she holds a joint appointment in the departments of Music and African and African American Studies. Her research interests include jazz, African American music, and the music of Mali.

Texte du rabat

Freedom Sounds addresses the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, and develops a new framework for thinking through the relationships among music, politics, aesthetics, and activism by carefully addressing the hot button racial and economic issues that generated contentious and soul-searching debate.

Contenu

• 1.: Introduction

• 2.: Jim Crow, Economics, and the Politics of Musicianship

• 3.: Modernism, Race, and Aesthetics

• 4.: Africa, The Cold War and the Diaspora at Home

• 5.: Activism and Fundraising from Freedom Now to the Freedom Rides

• 6.: Activism and Fundraising from Birmingham to Black Power

• 7.: The Debate Within: White Backlash, The New Thing, and Economics

• 8.: Aesthetic Agency and Self-Determination

• 9.: Coda