By Ingrid Monson
The African Diaspora provides musical case reviews from a number of areas of the African diaspora, together with Africa, the Caribbean, Latin the USA, and Europe, that interact with broader interdisciplinary discussions approximately race, gender, politics, nationalism, and track.
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Additional info for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
And through developing a blues-based sensibility, through learning to play with form, pitch, rhythm, timbre, and any of a number of other musical, interactive, and performative parameters, the performer becomes a model for how one can “play” with living, within the constraints of culture: But while the players are free to engage in dialogue with one another, to explore, affirm and celebrate their various identities and their relationship…they are still bound by the requirements of the idiom; there are ways in which they may respond to one JAZZ PERFORMANCE AS RITUAL 31 another and ways in which they may not.
I mean, I think that Pat Metheny is a very soulful player. That[’s one] definition of soul. There’s another definition of soul which is more of a specific kind of, has more specific stylistic connotations, you know. A certain kind of emoting. Soulfulness which is associated with the blues, you know, the blues idiom and blues expression. And under that definition, Pat Metheny wouldn’t, doesn’t play with that, you know, that type of soul…. That’s not pejorative. Whereas someone like Stanley Turrentine to me is exemplary of that.
25 Unanimously, musicians felt that jazz education was good for teaching technique and specific ways to use harmony, but noted a gap between what could be taught in a conservatory setting and what one needed to know to play the music well (cf. Ellison 1964: 209). Donald Harrison, Antonio Hart, Gregory Hutchinson, Sam Newsome, James Williams, and Steve Wilson all suggested that young musicians had to engage with African American culture and be apprenticed to master musicians—the majority of whom in their estimation are African American—to be effective performers of the music.
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson