Nicholls argues that the way artistic projects are represented depends at least in part upon the willingness of critics to look beyond musical sounds alone and take notice of issues of identity and social positioning-their own and that of the artists they evaluate. To illustrate this point, she discusses the varying reception of John Coltrane, whose stature gave him a platform to resist and redress the negative judgments his experimental work received.
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aesthetics, anti-jazz, contextual analysis, cultural context, ecriture, formalism, free, identity, jazz criticism, jazz journalism, jazz political aspects, jazz social aspects, Post-structuralism, power relations, race relations, resistance, Structuralism