2015
DOI: 10.1017/s175219631500019x
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New Riffs on the Old Mind-Body Blues: “Black Rhythm,” “White Logic,” and Music Theory in the Twenty-First Century

Abstract: Contemporary music historians have shown how taxonomic divisions of humanityconstructed in earnest within

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Cited by 4 publications
(2 citation statements)
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References 36 publications
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“…These can be accessed through outer bodily contractions, extensions, and flexions in action of, and reaction to a rhythmic pattern/ thought. We see this manifesting in the music styles (especially Jazz and Blues), that have over decades developed in, from, or as part of African diasporic communities (Perchard, 2015;Pressing, 2002). The rhythmic phenomenon in jazz, for instance, fronts imitation and practical practitioner-to-practitioner/student rhythmic interaction in time drawing on a natural rhythmic intellect, personal habituation, and interaction.…”
Section: Community Encounters Experiences Research and Other Interact...mentioning
confidence: 99%
“…These can be accessed through outer bodily contractions, extensions, and flexions in action of, and reaction to a rhythmic pattern/ thought. We see this manifesting in the music styles (especially Jazz and Blues), that have over decades developed in, from, or as part of African diasporic communities (Perchard, 2015;Pressing, 2002). The rhythmic phenomenon in jazz, for instance, fronts imitation and practical practitioner-to-practitioner/student rhythmic interaction in time drawing on a natural rhythmic intellect, personal habituation, and interaction.…”
Section: Community Encounters Experiences Research and Other Interact...mentioning
confidence: 99%
“…Marie Thompson explains Cage's views as being down to 'whiteness', which 'enables Cage to become an objective arbiter of aesthetic value', a criticism that suggests Cage misuses a privileged position by playing the part of cultural gatekeeper on behalf of the dominant culture (2017:272). Cage is a common target when criticising Eurocentric views on music, but although decades have passed since the publication of his essay and interview referenced by Lewis, the dismissal or misconception of African American music is something that survives in modern scholarship, and there is a tendency even for some twenty-first century studies to 'stumble over similarly racialized faultlines' by creating a distinction between 'sensory' music and 'intelligent' music (Perchard, 2015).…”
Section: B Du Bois In An Essay From His Bookmentioning
confidence: 99%