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    Freedom Sounds: Civil Rights Call Out to Jazz and Africa (Paperback) By (author) Ingrid Monson

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    DescriptionAn insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences-African American music, popular song, classical music, African diasporic aesthetics, and other world musics-through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.


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  • Full bibliographic data for Freedom Sounds

    Title
    Freedom Sounds
    Subtitle
    Civil Rights Call Out to Jazz and Africa
    Authors and contributors
    By (author) Ingrid Monson
    Physical properties
    Format: Paperback
    Number of pages: 416
    Width: 152 mm
    Height: 224 mm
    Thickness: 30 mm
    Weight: 635 g
    Language
    English
    ISBN
    ISBN 13: 9780199757091
    ISBN 10: 0199757097
    Classifications

    Warengruppen-Systematik des deutschen Buchhandels: 25590
    Nielsen BookScan Product Class 3: T1.7
    BIC E4L: MUS
    B&T Book Type: NF
    BIC geographical qualifier V2: 1H
    BIC subject category V2: AVGJ
    B&T General Subject: 750
    BIC subject category V2: JPVH1
    Ingram Theme: CHRN/20CNTY, CULT/AFRICN
    BISAC V2.8: HIS001000, LAN009000
    BISAC Merchandising Theme: ET020
    Ingram Theme: ETHN/AFROAM
    DC22: 781.65
    LC classification: E
    B&T Modifier: Subject Development: 42
    Abridged Dewey: 973
    Ingram Subject Code: EI
    Libri: I-EI
    B&T Merchandise Category: UP
    BISAC V2.8: MUS025000
    BIC subject category V2: 1H
    DC22: 781.651599
    BISAC V2.8: SOC001000, HIS036060
    Thema V1.0: CF, NHH, JPVC, NHK, AVLP
    Thema geographical qualifier V1.0: 1KBB
    Thema time period qualifier V1.0: 3MP
    Thema geographical qualifier V1.0: 1H
    Thema style qualifier V1.0: 6JD
    Illustrations note
    16 halftones and 16 line drawings
    Publisher
    Oxford University Press Inc
    Imprint name
    Oxford University Press Inc
    Publication date
    25 November 2010
    Publication City/Country
    New York
    Author Information
    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.
    Review quote
    "The broad scope and painstaking research of Freedon Sounds will encourage its use by students, scholars, and fans in multiple fields and with varying backgrounds."--Ethnomusicology"Future scholars will no doubt be deeply grateful to Freedom Sounds, which turns a cool eye on the heated debates of jazz in the 1950s and 1960s, clarifying their fault lines while refusing to simplify the tremendous complexities of that era in jazz history."-Scott Saul, American Music"This is a long overdue overview of the complex and often contentious subject of jazz and race in America--a landmark academic work that peeks into the Pandora's box that has sat conspicuously unopened in jazz history classrooms for too many years.... Painstakingly researched and meticulously footnoted, the text should serve as a springboard for much needed future analysis of the important questions it raises."--Russ Mustro, All About Jazz"Ingrid Monson is one of the pre-eminent scholars of modern music, American history, and African American culture. In this book she puts forward a theoretically sophisticated, historically nuanced, and politically courageous analysis of how jazz was recast and remade on the treacherous terrain of postwar America (1950-1967). This book is cultural criticism at its best!"--Cornel West, University Professor, Princeton University"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 extraordinar
    Table of contents
    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