By Ingrid Monson
The African Diaspora provides musical case experiences 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 track.
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Additional info for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
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. 16 Guitarist Peter Bernstein stressed the importance of using practice time to internalize standard forms and harmonic schemes in the jazz repertoire. But those specific materials and activities are only part of practice routines that vary depending on what a musician feels she or he has neglected, has failed to do well, or needs to improve.
58; emphasis in original) Like Baraka and Ellison, Murray is concerned with the multivalence of the blues. They work not only on the level of musical form, technique, or style, but also on the level of prevailing ethos, as an approach to dealing with the exigencies of daily life. Or put more simply, what works in the context of musical performance is extensible to the performances that are our daily interactions with other people, institutions, and situations (cf. Goffman 1959). Murray also delves into the specific kinds of dynamics that characterize the blues-based ritual of performance.
And, um, I think the thing I’ve gotten from him more than anything else is, you know, by listening to him I really learned a lot about playing the blues, and, and…that kind of “soul” style of tenor playing. Um, I’ve learned, I’ve learned a lot about, you know, how important the strength of your sound is, you know. Before you even worry about what notes, or what combination of notes, just the power you put into your sound and the strength of each attack, you know, and the way you play a note, whatever the note is.
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson