|
Required Texts
If You Can’t Be Free, Be a Mystery: In Search of Billie
Holiday /
Blues People: Negro Music in White
America
Dizzy: The Life and Times of John Birks Gillespie /
The Jazz Cadence of American Culture
What Is This Thing Called Jazz?: African American
Musicians as Artists, Critics, and Activists
* * * *
*
Bebop Modernism and Change
A Course by
Dr.
Floyd Hayes,
III
|
Southern
trees bear a strange fruit,
Blood on
the leaves and blood at the root,
Black
body swinging in the Southern breeze,
Strange
fruit hanging from the poplar trees.
Pastoral
scene of the gallant South,
The
bulging eyes and the twisted mouth,
Scent of
magnolia sweet and fresh,
And the
sudden smell of burning flesh!
Here is a
fruit for the crows to pluck,
For the
rain to gather, for the wind to suck,
For the
sun to rot, for a tree to drop,
Here is a
strange and bitter crop.
Billie Holiday, “Strange Fruit” |
* * * *
*
“Jazz” is an extenuation
of the African chants and songs. It is an extenuation
of the pain and suffering of those long, and too often,
destinationless trips across the Atlantic Ocean, deep in
the holes of those dark, damp, filthy, human slave
ships, endured by chained, innocent, black men and
children. “Jazz” is an extenuation of the humiliations
suffered by these same human beings while being sold as
cattle or produce. It is an extenuation of the pain of
the whip, the assaulter, the procurer, the “driva’ man,”
the patrol wagons, the kidnapper, the sunup to sundown
slave field and plantation. It is the extension of
many, many lynchings, castrations, and other
“improvisations” of genocide on these same black men,
women and children. “Jazz” is an extension of the black
man, “freed,” who found himself still shackled to the
same chain, all shinned up, when he unwittingly ventured
out into “their” free world of opportunity and wealth,
only to be assaulted, whipped, murdered, and raped some
more. The “Spiritual,” “Race Music,” “Rhythm and
Blues,” “Dixieland,” “Jazz,” (and never, yet, any of the
music named by its creators, but by the disdainful,
master observer). “Jazz” is an extension of the black
artist being relegated to practice his or her craft,
even today, under these intolerable, too similar,
conditions.
—Max Roach,
“Jazz”
* *
* * *
[Black] music is
essentially the expression of an attitude, or a
collection of attitudes, about the world, and only
secondarily an attitude about the way music is made. . .
. A man can speak of the “heresy of bebop” for instance,
only if he is completely unaware of the psychological
catalysts that made that music the exact registration of
the social and cultural thinking of a whole generation
of black Americans. The blues and jazz aesthetic, to be
fully understood, must be seen in as nearly its complete
human context as possible. People made bebop. The
question the critic must ask is: why? But it is just
this why of the [black American] music that has been
consistently ignored or misunderstood; and it is a
question that cannot be adequately answered without
first understanding the necessity of asking it.
Contemporary jazz during the last few years has begun to
take on again some of the anarchy and excitement of the
bebop years.
—Amiri Baraka [LeRoi
Jones],
Black Music
* *
* * *
Contemporary jazz
scholarship—whether affiliated with ethnomusicology,
English, American studies, cultural studies, or
history—investigates the ways jazz has been imagined,
defined, managed, and shaped within particular cultural
contexts. It considers how jazz as an experience of
sounds, movements, and states of feeling has always been
mediated and complicated by peculiarly American cultural
patterns, especially those of race and sexuality.
—John Gennari,
Blowin’ Hot and Cool: Jazz and Its Critics
* *
* * *
Seminar
Description and Purpose
Although jazz had
emerged out of the lived experiences of
African-descended Americans during the early decades of
the twentieth century, many white American musicians and
entrepreneurs had appropriated swing jazz by the 1930s.
Reflecting the structure of Jim Crow segregation across
the landscape of America, large swing jazz bands often
excluded black musicians, denying them the means to
maintain economic self-sufficiency. Hence, as always in
America, white supremacy, cultural appropriation, and
capitalist exploitation were dynamic elements of a
social structure of domination. By the 1940s, a cadre
of young black American musicians—the stellar list
includes Charlie Parker, Dizzy Gillespie, and Thelonious
Monk—set in motion a paradigm shift that challenged
American culture’s social and musical inequality. The
bebop musical revolution was characterized by innovative
and improvisational moves as black American and
Afro-Cuban creative artists produced a new, intense, and
rebellious sound that reverberated throughout American
society.
| This seminar explores the social and
political content, meanings, and intent of
jazz music, in general, and bebop music, in
particular. While the major historical
focus is from the 1940’s to the 1960’s, the
seminar also will examine the broader
history of black progressive music (jazz)
and its impact on the social transformation
of modern America. Bebop, as an
intellectual and musical system, embodied
and reflected the political and social
conditions of the turbulent times—the
frustrations, aspirations, and subversive
sensibilities of a progressive group of
black American musicians. As World War
II ended, black Americans once again began
to challenge the national and global
structures of white supremacy, economic
exploitation, and cultural imperialism. |
 |
Demanding the
democracy they had fought for during the war, black
Americans called for the end of segregation in America
and the termination of colonialism in Africa. It was
during these moments of agitation and protest that black
creative artists began to express a new musical
sensibility that embodied, reflected, and accompanied
the new social movement for black liberation.
For numerous
historical reasons, particularly since the advent of
modernity and the rise of the Enlightenment in Western
Europe, the production of Africana cultural and literary
discourse has been a political act. In particular,
African American culture—and black culture in Latin
America and the Caribbean—emerged within the context of
Western cultural domination—the Atlantic Slave Trade,
chattel slavery, imperialism, colonialism, segregation,
white supremacy, and antiblack hatred and violence.
These structures and processes of domination also served
as the cultural milieu in which Western Europeans and
Euro-Americans came to define and represent their
African captives and their American descendants
(throughout the Americas) as negative and inferior.
Hence, the life experiences of native black Americans
have been characterized by intense political, social,
and cultural struggle. Black American creative artists
have themselves engaged in various forms of resistance
in the historic and monumental battle for black freedom,
human rights, and self-determination. In many ways,
reflecting black people’s experiences with the underside
of modern American culture, beboppers and their complex
and improvisational music might be considered
counter-modernists, as they both embraced and challenged
modernist American culture.
 |
Through an
historical examination of the African American
progressive music tradition, this course will give
seminar members the opportunity to reflect upon the
complex meanings, intent, and content of bebop music.
The seminar will stress an interdisciplinary approach to
knowledge (historical, political, cultural, and
philosophical), allowing for a reconsideration of the
meaning of bebop music and the significance of its
African American creators with respect to the changing
character of American society.
As Julie Thompson Klein
asserts in her book, Crossing Boundaries: Knowledge,
Disciplinarities, and Interdisciplinarities (1996):
“[A]n interdisciplinarity rooted in critical thought
reinvents scholarly and public discourse by regenerating
method and epistemology. When intellectuality is
premised on rediscovery and rethinking, resocialization
and reintellectualization, interdisciplinarity becomes
not just a way of doing things but a new way of knowing”
(1996: 15).
Thus, interdisciplinarity recognizes the
inter-connectedness that propels our increasingly
complex society and its cultural production and
understands that the measure of competence for its
members will reflect their ability to grasp this
characteristic. In the final analysis, the seminar is
designed to equip students with a method of inquiry that
will be useful in understanding the complex
interconnections of bebop music and social change in
America from the 1940s to the 1960s and beyond. |
* *
* * *
Required Texts:
Griffin, Farah Jasmine.
2002.
If You Can’t Be Free, Be a Mystery: In Search of Billie
Holiday. New York: One World/Ballentine Books.
Jones, LeRoi (Baraka,
Amiri). 1963/2002.
Blues People: Negro Music in White America. New
York: HarperCollins Publishers.
Maggin, Donald L. 2005.
Dizzy: The Life and Times of John Birks Gillespie.
New York: HarperCollins Publishers.
O’Meally, Robert G.
1998. Ed.
The Jazz Cadence of American Culture. New York:
Columbia University Press.
Porter, Eric. 2002.
What Is This Thing Called Jazz?: African American
Musicians as Artists, Critics, and Activists.
Berkeley: University of California Press.
* *
* * *
SELECTED BIBLIOGRAPHY
Journals and Online Sources
Black
Music Research Journal / Black Perspective in Music /
Critical Inquiry /
Downbeat /
Ethnomusicology
Jazz
Journal International / Jazztimes (Jazztimes.com) /
Journal of American Musicology / Journal of
Musicological Society
Musical
Quarterly
Jazz: Historical, Social, and Political Contexts
Appel,
Jr., Alfred. 2005.
Jazz Modernism: From Ellington and Armstrong to Matisse
and Joyce. New Haven: Yale University Press.
Bambara,
Toni Cade. 2005. Ed.
The Black Woman: An Anthology. New York:
Washington Square Press.
Baker,
Houston A., Jr. 1984.
Blues, Ideology, and Afro-American Literature.
Chicago: The University of Chicago Press.
_____.
1987.
Modernism and the Harlem Renaissance. Chicago:
The University of Chicago Press.
Baraka,
Amiri. 1991. “The ‘blues aesthetic’ and the ‘black
aesthetic’: Aesthetics as the continuing political
history of a culture.” Black Music Research Journal
11, No. 2: 101-110.
_____.
1999.
Amiri Baraka Reader. William J. Harris. Ed.
Berkeley: Thunder’s Mouth Press.
_____. and
Amina Baraka. 1987.
The Music: Reflections on Jazz and Blues. New
York: William Morrow and Company.
Barrett,
William. 1958.
Irrational Man: A Study of Existential Philosophy.
New York: Anchor Books/Doubleday.
Berliner,
Paul F. 1994.
Thinking in Jazz: The Infinite Art of Improvisation.
Chicago: The University of Chicago Press.
Blackburn,
Julia. 2005.
With Billie. New York: Pantheon Books.
Blassingame, John W. 1972.
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South. New York: Oxford University Press.
Boggs,
James. 1970.
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Black Worker’s Notebook. New York: Monthly
Review Press.
Brock,
Lisa, and Digna Castaneda Fuertes. 1991. Eds.
Between Race and Empire: African-Americans and Cubans
before the Cuban Revolution. Philadelphia:
Temple University Press.
Bryant,
Clora, et al. 1998.
Central Avenue Sounds: Jazz in Los Angeles.
Berkeley: University of California Press.
Carby,
Hazel. 1992. “Policing the Black Woman’s Body in an
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738-755.
_____.
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Clarke,
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Cleaver,
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Cole,
Bill. 1976.
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Cruse,
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_____.
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Daniels,
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Davis,
Angela. 1998.
Blues Legacies and Black Feminism: Gertrude “Ma” Rainey,
Bessie Smith, and Billie Holiday. New York:
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Dawson,
Michael C. 2001.
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DeVeaux,
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Laurent. 1997.
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W. E. B. 1935.
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_____.
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During,
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Ellison,
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_____.
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Robert G. O’Meally. Ed. New York: Modern Library.
Feagin,
Joe R. 2000.
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Reparations. New York: Routledge.
Floyd,
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The Power of Black Music: Interpreting Its History from
Africa to the United States. New York: Oxford
University Press.
Giddins,
Gary. 2004.
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New York: Oxford University Press.
Gillespie, Dizzy. 1979.
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Gioia, Ted. 1992.
West Coast Jazz: Modern Jazz in California 1945-1960.
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_____. 1997.
The History of Jazz. New York: Oxford University
Press.
Gioia, Ted. 1988.
The Imperfect Art: Reflections on Jazz and Modern
Culture.
New York: Stanford Alumni Association/Oxford University
Press.
Gordon, Lewis R. 2000.
Existentia Africana: Understanding Africana Existential
Thought. New York: Routledge.
Gennari, John. 2006.
Blowni’ Hot and Cool: Jazz and Its Critics. Chicago:
University of Chicago Press.
Gottlieb, Robert. 1999.
Ed.
Reading Jazz: A Gathering of Autobiography, Reportage,
and Criticism from 1919 to Now. New York:
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Gussow, Adam. 2002.
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Tradition. Chicago: The University of Chicago
Press.
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Vincent. 1981.
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America. New York: Harcourt Brace Jovanovich.
Harper,
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Harris,
William J. 1985.
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Aesthetic. Columbia: University of Missouri
Press.
Harrison,
Daphne. 1988.
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Harvey,
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Stephen. 1973.
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bell. 1990.
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Charles. 1966. Urban Blues. Chicago: The
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Richard H. 2004.
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Frank. 1970.
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Music. New York: Pathfinder Press.
Lawrence,
A. H. 2001.
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Lee,
Robert A. 1998.
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Literature and Culture of Afro-America. London:
Pluto Press.
Lewis,
David L. 1982.
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Lock,
Graham. 1999.
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Ellington, and Anthony Braxton. Durham: Duke
University Press.
Lovell,
John. 1972.
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New York: Macmillan.
Lynch,
Acklyn. 1993.
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Black Culture and Resistance. Chicago: Third World
Press.
Margolick,
David. 2000.
Strange Fruit: Billie Holiday, Café
Society, and an Early Cry for Civil Rights.
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Marone,
James A. 2003.
Hellfire Nation: The Politics of Sin
in American History. New Haven: Yale University
Press.
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Richard M. 1995.
Representing Black Culture: Racial
Conflict and Cultural Politics in the United States.
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Charles. 1971.
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Alfred A. Knopf, Inc.
Mingus,
Sue Graham. 2002.
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Ingrid. 1994. “Doubleness and Jazz Improvisation: Irony,
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20 (Winter): 283-314.
_____.
1995. “The Problem of White Hipness: Race, Gender, and
Cultural Conceptions in Jazz Historical Discourse.”
Journal of the American Musicological Society. 48: 3
(fall): 396-422.
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Toni. 1993. Jazz. New York: Plume Books.
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Fred. 2003.
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Albert. 1970.
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to the Folklore of White Supremacy. New York: Da
Capo Press.
_____.
1973.
The Hero and the Blues. New York: Vintage
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_____.
1976.
Stomping the Blues. New York: Da Capo
Press.
_____.
1996.
The Blue Devils of Nada: A Contemporary
American Approach to Aesthetic Statement. New York:
Pantheon Books.
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Mark. 1983.
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Billie Holiday. Boston:
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Black Chant: Languages of
African-American Postmodernism. New York: Cambridge
University Press.
_____.
2004.
Integral Music: Languages of African American
Innovation. Tuscaloosa: The University of Alabama
Press.
Nisenson,
Eric. 1993.
Ascension: John Coltrane and His Quest.
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_____.
2000.
Open Sky: Sonny Rollins and His World of
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Thomas. 1996.
Bebop: The Music and Its Players.
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Jan. 1997.
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_____.
1998.
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Richard J. 1989.
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_____.
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_____.
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