By Ingrid Monson
The African Diaspora offers musical case reviews from numerous areas of the African diaspora, together with Africa, the Caribbean, Latin the USA, and Europe, that have interaction 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)
Sometimes, those sessions involve listening to recordings of their own performances or going over difficulties they have encountered in performing. Joshua Redman (1995) says that his focus at such times is on “trying to learn tunes I don’t know, play through the melodies, play them in different keys. As a general rule, I try to work on things that don’t come naturally. ” Both Antonio Hart (1994) and Sam Newsome (1995) speak of having notebooks full of harmonic concepts that they have not fully incorporated into their playing, concepts that will require extensive practice to internalize and make effective in performing contexts.
Those concerns can be characterized as the importance of having an individual voice; developing the ability to balance and play with a number of different musical parameters in performance; understanding the cultural foundations of the music; being able oneself to “bring something to the music”; creating music that is “open enough” to allow other musicians to bring something despite or because of what has been provided structurally or contextually; and being open for transcendence to “the next level” of performance, the spiritual level.
Still, a diaspora perspective is not without its difficulties. Gilroy (1994) pointedly raises some of the questions that complicate this view: How are we to think critically about artistic products and aesthetic codes which, though they may be traceable back to one distinct location, have somehow been changed either by the passage of time or by their displacement, relocation or dissemination through wider networks of communication and cultural exchange? (94) Indeed, the scholar conducting work that tries to link the cultural practices of those in diaspora with one another or with Africans risks having her/his work dismissed as “essentialism or idealism or both” (94).
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson