Critical theory, jazz, and politics
Author | : Robert W. Bernotas |
Publisher | : |
Total Pages | : 339 |
Release | : 1987 |
Genre | : Jazz |
ISBN | : |
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Author | : Robert W. Bernotas |
Publisher | : |
Total Pages | : 339 |
Release | : 1987 |
Genre | : Jazz |
ISBN | : |
Author | : Robert W. Bernotas |
Publisher | : |
Total Pages | : 339 |
Release | : 1987 |
Genre | : Critical theory |
ISBN | : |
Author | : Gregory Clark |
Publisher | : University of Chicago Press |
Total Pages | : 211 |
Release | : 2015-02-25 |
Genre | : Language Arts & Disciplines |
ISBN | : 022621821X |
Greg Clark welcomes his readers by asking them to accompany him on a trip to a New Orleans club, where the warmth of the music and the warmth of the audience instill a special feeling of communion, of getting along. Clark s book treats the idea that jazz demands from those who make it as well as those who listen a form of life that substantiates the seemingly impossible American value that is "e pluribus unum." The process of getting along (in communication, in community) is something the great student of culture and rhetoric, Kenneth Burke, spent his life trying to describe. Clark has found that jazz, as an activity and a cultural form, goes a long way toward illustrating that process. Jazz is often described as democratic. Burke s rhetorical and aesthetic ideas explain how this is so. Working with others to address immediate problems they share can align for a time individuals who are otherwise very different. That is what jazz does: it enables people who are different and even in conflict with each other to combine in cooperation toward an end that matters to all of them just now. And this, too, is what civic life in democratic cultures demands. In chapters that deal with such issues as what jazz does and how jazz works, Clark uses examples from jazz history (from Louis Armstrong and Earl Hines to Miles Davis and Bill Evans), but also from contemporary jazz, both recorded and live, e.g., pianist Jonathan Batiste and his Social Music, drummer Terri Lyne Carrington and her collaborative Mosaic Project, or the newly emergent vocalist, Cecile Mclorin Salvant, all of this in the service of making improvisation and ensemble work yield the experience of transcendence that results from intense engagement with jazz as aesthetic form (for players and listeners alike). The resulting book is a study of jazz in the context of American aspirations toward democratic interaction "and" a study of Kenneth Burke s democratic rhetorical theory and practice as essentially aesthetic in function and effect. Marcus Roberts, the much-lionized neoclassical pianist, crafts a Foreword that points to practical ways these ideas can work to improve and inspire both musicians and citizens."
Author | : M.I. Franklin |
Publisher | : Springer |
Total Pages | : 320 |
Release | : 2016-09-23 |
Genre | : Political Science |
ISBN | : 1137056177 |
This book explores a provocative area of inquiry for critical theory and research into world politics and popular culture: music. Not just because political science barely engages with anything musical, but also because it is clear that many opportunities for critical scholarship and reflection on global politics and economics are present in the spaces and relationships created by organized sound. It is easy to focus on the textual elements of music, but there is more at stake than just the words. Critical reflection on the intersections between music and politics also need to take into account the visceral and non-verbal elements such as counterpoint and harmony, polyphony and dissonance, noise, rhymes, rhythms, performance and the visual/aural dimensions to music-making.
Author | : Fumi Okiji |
Publisher | : Stanford University Press |
Total Pages | : 208 |
Release | : 2018-09-04 |
Genre | : Music |
ISBN | : 1503605868 |
This “lucidly argued, historically grounded . . . and timely book” reexamines the relationship between black cultures, jazz music, and critical theory (Alexander G. Weheliye, Northwestern University). A sustained engagement with the work of Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. While Adorno's writings on jazz are notoriously dismissive, he has faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a new path, Okiji calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, she makes the case for jazz as a model of “gathering in difference.” Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.
Author | : Kathy J. Ogren |
Publisher | : Oxford University Press |
Total Pages | : 240 |
Release | : 1992-06-04 |
Genre | : Music |
ISBN | : 0195360621 |
Born of African rhythms, the spiritual "call and response," and other American musical traditions, jazz was by the 1920s the dominant influence on this country's popular music. Writers of the Harlem Renaissance (Langston Hughes, Claude McKay, Zora Neale Hurston) and the "Lost Generation" (Malcolm Cowley, F. Scott Fitzgerald, and Gertrude Stein), along with many other Americans celebrated it--both as an expression of black culture and as a symbol of rebellion against American society. But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it "devil's music" and criticized it for casting a negative light on the black community. In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. In the words of conductor Leopold Stowkowski, "Jazz [had] come to stay because it [was] an expression of the times, of the breathless, energetic, superactive times in which we [were] living, it [was] useless to fight against it." Numerous other factors contributed to the growth of jazz as a popular music during the 1920s. The closing of the Storyville section of New Orleans in 1917 was a signal to many jazz greats to move north and west in search of new homes for their music. Ogren follows them to such places as Chicago, New York, and San Francisco, and, using the musicians' own words as often as possible, tells of their experiences in the clubs and cabarets. Prohibition, ushered in by the Volstead Act of 1919, sent people out in droves to gang-controlled speak-easies, many of which provided jazz entertainment. And the 1920s economic boom, which made music readily available through radio and the phonograph record, created an even larger audience for the new music. But Ogren maintains that jazz itself, through its syncopated beat, improvisation, and blue tonalities, spoke to millions. Based on print media, secondary sources, biographies and autobiographies, and making extensive use of oral histories, The Jazz Revolution offers provocative insights into both early jazz and American culture.
Author | : Matthew F. Jordan |
Publisher | : University of Illinois Press |
Total Pages | : 314 |
Release | : 2022-08-15 |
Genre | : Music |
ISBN | : 0252053877 |
In Le Jazz, Matthew F. Jordan deftly blends textual analysis, critical theory, and cultural history in a wide-ranging and highly readable account of how jazz progressed from a foreign cultural innovation met with resistance by French traditionalists to a naturalized component of the country's identity. Jordan draws on sources including ephemeral critical writing in the press and twentieth-century French literature to trace the country's reception of jazz, from the Cakewalk dance craze and the music's significance as a harbinger of cultural recovery after World War II to its place within French ethnography and cultural hybridity. Countering the histories of jazz's celebratory reception in France, Jordan delves in to the reluctance of many French citizens to accept jazz with the same enthusiasm as the liberal humanists and cosmopolitan crowds of the 1930s. Jordan argues that some listeners and critics perceived jazz as a threat to traditional French culture, and only as France modernized its identity did jazz become compatible with notions of Frenchness. Le Jazz speaks to the power of enlivened debate about popular culture, art, and expression as the means for constructing a vibrant cultural identity, revealing crucial keys to understanding how the French have come to see themselves in the postwar world.
Author | : Max Pensky |
Publisher | : Rowman & Littlefield |
Total Pages | : 262 |
Release | : 2005 |
Genre | : Philosophy |
ISBN | : 0742534499 |
The anthology begins with discussions of globalization and hegemony by the two giants J rgen Habermas and Jacques Derrida. Other contributors, whose fields or institutions are not mentioned, then consider the global public sphere; race, memory, and forgetting; and globalizing visions of science, technology, and aesthetics. Annotation 2004 Book News
Author | : Janelle G. Reinelt |
Publisher | : University of Michigan Press |
Total Pages | : 468 |
Release | : 1992 |
Genre | : Drama |
ISBN | : 9780472064588 |
The first comprehensive survey of the major critical currents and approaches in the lively field of performance studies
Author | : Susan Catherine Alunan |
Publisher | : |
Total Pages | : 0 |
Release | : 2022 |
Genre | : |
ISBN | : |
This project addresses problems of political disengagement, social exclusion, multi-generational poverty, and social injustice in communities left behind by an incomplete democracy, now in acute crisis. Using jazz improvisation as a metaphor for Dewey's ideals for a thriving and creative American democracy, this normative critical theory and pedagogy is part of a multi-pronged approach to radical democratic reform. Building on theories of humanistic prophetic pragmatism, critical pedagogy, and democratic theory, and suffused with critical race feminism, this critical approach begins with individual transformation, critical consciousness, and agency of marginalized citizens, through critical improvisational pedagogy. The approach seeks to prepare more diverse voices for active democratic deliberation and effective participation in democratic public spaces of input, negotiation, and challenge for the issues that affect marginalized people. The project creates an architecture, a basic template, and an operationalization strategy for the development of centers of critical improvisational pedagogy for the transmission of critical knowledge, mentoring, community support, and apprenticeships through culturally appropriate arts and cultural programming in accessible local community sites. Key Words: critical improvisational pedagogy, prophetic pragmatism, critical feminist theory, radical democratic reform, jazz imaginary, critical consciousness.