By Ingrid Monson
The African Diaspora offers musical case reports from a variety of areas of the African diaspora, together with Africa, the Caribbean, Latin the US, and Europe, that interact with broader interdisciplinary discussions approximately race, gender, politics, nationalism, and tune.
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Additional resources for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
In that way, he summarizes many conversations I have had with musicians and fans, most of whom considered developing the ability to play the blues or to play with blues feeling essential skills for playing jazz. The integration 38 THE AFRICAN DIASPORA and mastery of such skills is precisely what allows performers such as pianist Wynton Kelly, tenor saxophonist Hank Mobley, and guitarist Grant Green to be considered important figures in the music’s history from the standpoint of knowledgeable players and listeners (Rosenthal 1992; Starks 1993: 149).
30 THE AFRICAN DIASPORA Christopher Small sees all of African American music as having ritual significance. The subtitle of Music of the Common Tongue (1987a)— Survival and Celebration in Afro-American Music—makes clear what the function of that ritual is for him. Understanding the role of music in ritual requires an explanation first of what music means to him. He writes that music is not primarily a thing or a collection of things, but an activity in which we engage. One might say that it is not properly a noun at all, but a verb….
Style is a given. But as with any genre, it is the substance and its structures that make the difference—the Signifyin(g) difference— in jazz…. The similarity of the jazz improvisation event to the African dance-possession event [is] too striking and provocative to dismiss, but in the absence of a provable connection, it can only be viewed as the realization of an aspect of ritual and of cultural memory. (140–141) Like the other writers, then, Floyd shares a preoccupation with the importance of the blues for African American music making.
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson