[ePub] Sustainable Building Design: Learning from nineteenth-century innovations by Vidar Lerum in Arts-Photography

Description

An 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 Robesons 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.