By Ingrid Monson
The African Diaspora offers musical case reports from a number of areas of the African diaspora, together with Africa, the Caribbean, Latin the US, and Europe, that interact with broader interdisciplinary discussions approximately race, gender, politics, nationalism, and tune.
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Additional info for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
It is a far greater matter of convention, and hence tradition, than of impulse… It is not so much what blues musicians bring out of themselves as what they do with existing conventions” (126). Writers following Murray in writing about African American musics have also recognized the centrality of blues in the interpretation of musical meaning. In Black Culture and Black Consciousness (1977), Lawrence Levine focuses on the constant interaction between the forms of music making that have been called gospel, blues, and jazz (179–85), noting that social function may be the only criterion that could definitively distinguish them from one another (186).
It doesn’t leave room for, for maybe if you wanted to develop ideas, you know, that doesn’t leave room for, for dealing with blues, the blues aspect of harmony. So I mean…there are so many elements that, that go into producing like JAZZ PERFORMANCE AS RITUAL 37 a, a good, a good solo, that if you were to incorporate too much of one thing, it’s, you know, it’s gonna sound mechanical and unmusical. These musicians work on being balanced in their practice routines, which, according to their performance, recording, and touring schedules, can vary considerably.
Ellison’s ideas about the nature of jazz performance have been extended, elaborated, and refined8 by his younger classmate from Tuskegee Institute, Albert Murray. In a series of essays and fictional works since 1970, Murray has continually returned to the blues, using it not only as the basis for aesthetic theorization but also as a way of characterizing the nature of the American experience. For him, Ellison’s JAZZ PERFORMANCE AS RITUAL 27 writing about ritual, affirmation, and interaction with tradition are subsumed under the rubric of the blues.
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson