“Real” Black Music

As the 1950s drew to a close and frustration with the progress of the civil rights movement added fire to the “Black Nationalist” movement in the United States, the criticism Lewis faced took on a decidedly more militant feel. Leading the charge of this critical turn was a young writer named Le-Roi...

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Bibliographische Detailangaben
1. Verfasser:	Coady, Christopher
Format:	Buchkapitel
Sprache:	eng
Schlagworte:	Aesthetics African American culture African American studies African culture African music African studies American studies Anthropology Applied aesthetics Art criticism Art genres and movements Art history Art music Art theory Arts Axiology Behavioral sciences Communications Cultural semiotics Ethnography Ethnology High culture Jazz Modernist art Music Music criticism Music genres Music semiology Music theory Musical aesthetics Musical rhythm Musical time Musical tropes Performing arts Philosophy Popular music Semiotics Social sciences Western art music
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Beschreibung
Zusammenfassung:	As the 1950s drew to a close and frustration with the progress of the civil rights movement added fire to the “Black Nationalist” movement in the United States, the criticism Lewis faced took on a decidedly more militant feel. Leading the charge of this critical turn was a young writer named Le-Roi Jones, who struck out against Third Stream artists and other Western art music appropriators in a 1961 essay forMetronometitled “The Jazz Avant-Garde.” To be clear, in no way was Jones a “moldy fig”—a critic who believed jazz’s best days were behind it, somewhere between Buddy