Details

Autor(en) / Beteiligte

• Price, Emmett George

Titel

Free Jazz and the Black Arts Movement, 1958–1967

Ort / Verlag

ProQuest Dissertations Publishing

Erscheinungsjahr

2000

Link zum Volltext

• ProQuest

Quelle

ProQuest Dissertations & Theses A&I

Beschreibungen/Notizen

• There has generally been an absence of social and political critique within the chronicles of Black Music. This absence is problematic, especially in the case of Jazz history and criticism. This dissertation aims to fink the jazz genre of the turbulent 1960's (Free Jazz) to the Black Arts Movement, the coexisting artistic movement. The overall goal of the dissertation is to introduce a new approach to analyzing Free Jazz, drawing close attention to social, political and cultural developments in addition to musical innovations during 1958–1967. Past analytical approaches are reviewed in detail in preparation for the presentation of a new method of analysis, which features a holistic approach. The new method, in this isolated case, is partially achieved through establishing the relationship between Free Jazz and the Black Arts Movement. Musicians of the Free Jazz period had an intimate relationship with the literary figures of the Black Arts Movement. Many individuals were well received as artists of both a musical and literary nature (i.e., Archie Shepp, Sun Ra, Albert Ayler, Marion Brown, et alia.). Free Jazz and the Black Arts Movement 1958–1967 embarks on a study of the period 1958–1967 by concentrating on the issues of race, black consciousness and the question of a black aesthetic. The general principles of the Black Liberation Movement (in which both Free Jazz and the Black Arts Movement were incorporated) are also discussed. I will devote some time to establishing the relationship between Free Jazz and the Black Arts Movement through their respective usage of the philosophies of Cultural Nationalism as well as the reoccurring ideas of self-determination and self-discipline. Through a mapped-out survey of previous approaches to analyzing Free Jazz, a new approach is presented which encompasses not only musical analysis but also social, political and cultural critiques. The new approach will prove useful not only in the study of Free Jazz but also in the study of African American Music. The new approach will further prove useful in the study of Black Music, which encompasses all music of the African Diaspora.