The Blues Aesthetic
Author | : Richard J. Powell |
Publisher | : |
Total Pages | : 118 |
Release | : 1989 |
Genre | : African American art |
ISBN | : |
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Author | : Richard J. Powell |
Publisher | : |
Total Pages | : 118 |
Release | : 1989 |
Genre | : African American art |
ISBN | : |
Author | : Michael Ryan Skansgaard |
Publisher | : |
Total Pages | : |
Release | : 2019 |
Genre | : |
ISBN | : |
Author | : Barbara A. Baker |
Publisher | : Peter Lang Incorporated, International Academic Publishers |
Total Pages | : 184 |
Release | : 2003 |
Genre | : History |
ISBN | : |
Examining the manner in which the aesthetics related to blues music are manifested in the literature of George Washington Harris, Charles Chesnutt, Zora Neale Hurston, and Lewis Nordan reveals that African-American experience is diffused throughout Southern literature, from Old Southwest humor to contemporary fiction.
Author | : Studio Museum in Harlem |
Publisher | : |
Total Pages | : 6 |
Release | : 1990 |
Genre | : African American arts |
ISBN | : |
Author | : Luana |
Publisher | : Lulu.com |
Total Pages | : 120 |
Release | : 2016 |
Genre | : Aesthetics, Black |
ISBN | : 1483454797 |
What Makes That Black? The African-American Aesthetic identifies and defines seventy-four elements of the aesthetic through text and illustration. Using the magnificent camerawork of R.J. Muna, Sharen Bradford, Jae Man Joo, Rachel Neville, James Barry Knox, and more- as they point their cameras at Alonzo King LINES Ballet, Complexions Contemporary Ballet, and jazz artists such as Cécile McLorin Salvant and Wynton Marsalis- a specific artistic consciousness or sensibility visually unfolds. Luana even joins the camera crew as she shoots Oakland Street Graffiti--Backcover.
Author | : Amiri Baraka |
Publisher | : Univ of California Press |
Total Pages | : 425 |
Release | : 2009-05-26 |
Genre | : Music |
ISBN | : 0520943090 |
For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous—Max Roach, Charlie Parker, Miles Davis, John Coltrane—and on those whose names are known mainly by jazz aficionados—Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging.
Author | : Ph. D. Delridge Hunter |
Publisher | : Arpress |
Total Pages | : 0 |
Release | : 2024-01-26 |
Genre | : History |
ISBN | : |
Blues Aesthetics Blues Aesthetics (Volume 3) examines Blues as an Aesthetic musical art that operates with a philosophical base rooted in the cultural forms that have developed over the centuries of African progression and transplantation to the United States during the Middle Passage. Blues Aesthetics is a construct developed put of a desire to offer Blues on the same level playing field reserved for other musical forms from other traditions. Using European Classical Music as an example, it is assumed that this form emanates out of the European fine art tradition. That is why it has been given the name "Classical Music". This name automatically gives one the idea the music requires the listener to be prepared to create mode of understanding where full attention is given. I have never heard anyone state that music does not belong to or come from Europe. When I decided that I would treat blues as the metaphor for the study of the development and advancement of Black Popular Culture is particular and the culture of the United Sates in general, I wanted to have a sound basis in which to place my analysis. With blues one cannot go wrong. Why? It has chronicled the political economy of the United States of American since slavery. The analytic tool that has been used to inform this process is the Law of Position, a Position Theory. The Law of Position, a Position Theory is a paradigm that has its basic premise, "we take as given the idea of distinction and the idea of indication, and that in order to make an indication we must make a distinction. We take therefore the form of distinction for the form.: (G. Spencer-Brown).
Author | : Billie Elizabeth Bennett |
Publisher | : |
Total Pages | : 248 |
Release | : 1998 |
Genre | : Blues (Music) |
ISBN | : |
Author | : Mark Christian Thompson |
Publisher | : Northwestern University Press |
Total Pages | : 274 |
Release | : 2016-06-15 |
Genre | : Literary Criticism |
ISBN | : 0810132877 |
Kafka's Blues proves the startling thesis that many of Kafka's major works engage in a coherent, sustained meditation on racial transformation from white European into what Kafka refers to as the "Negro" (a term he used in English). Indeed, this book demonstrates that cultural assimilation and bodily transformation in Kafka's work are impossible without passage through a state of being "Negro." Kafka represents this passage in various ways—from reflections on New World slavery and black music to evolutionary theory, biblical allusion, and aesthetic primitivism—each grounded in a concept of writing that is linked to the perceived congenital musicality of the "Negro," and which is bound to his wider conception of aesthetic production. Mark Christian Thompson offers new close readings of canonical texts and undervalued letters and diary entries set in the context of the afterlife of New World slavery and in Czech and German popular culture.
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