Fred Moten on the Odyssey of Improvisation
Anthropology and Sociology
Franya Berkman on Alice Coltrane
Alice Coltrane was a composer, performer, guru, and the widow of John Coltrane. Over the course of her musical life, she synthesized a wide range of musical genres including gospel, rhythm and blues, bebop, free jazz, Indian devotional song, and Western art music. Franya Berkman's book, Monument Eternal: The Music of Alice Coltrane (Wesleyan University Press, 2010), illuminates her music and explores American religious practices in the second half of the twentieth century. The talk by Dr.
Damon Phillips Talks about "Shaping Jazz"
From Princeton University Press:
"Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazzanswers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz.
Amiri Baraka’s "Blues People" at Fifty : William J. Harris
This comprehensive study, the first to be written by an African American, is a precursor to the fields of cultural studies and critical race theory. William J. Harris discusses the implications of this sociocultural history of African American music and its unique place in American music history and culture. The talk marks the 50th anniversary of Amiri Baraka’s classic, which was published in New York City On September 25, 1963 with a first impression of 5000 copies and never went out of print.
Resource Name
My body goes here
URL:
"You Think You Know Me...": Part II
The continuation of Gwen Ansell's discussion of black radio stations and their struggle with the apartheid regime in South Africa. Click here for Part I.
"You Think You Know Me...": Jazz Broadcasting Under Apartheid (I)
Gwen Ansell discusses the strategies that South African musicians and radio stations used to overcome the apartheid regime's efforts at cultural cleansing by introducing black audiences to jazz, and thus making jazz "the quintessential music of struggle" in that country. Click here for Part II.
Jazz in South African Social Clubs (I)
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.
Jazz in South African Social Clubs (II)
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.
Conversation with Miya Masaoka and Vijay Iyer (I)
Miya Masaoka is a composer, kotoist, and sound artist. She has created works for solo koto, ensembles, mixed choirs, live electronics, and video that have been presented across the world. Discussing her work with her is composer, pianist, and scholar Vijay Iyer. Ms. Masaoka talks about how her and her family's experiences as members of a persecuted minority, Japanese Americans, shaped her works that deal with Japanese artistic traditions and with subaltern social groups--and even with marginalized biological subjects such as plants and insects.
Pages
