Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-26T05:18:08.123Z Has data issue: false hasContentIssue false
  • English
  • Français

Freedom Sounds: Civil Rights Call Out to Jazz and Africa. By Ingrid Monson. New York: Oxford University Press, 2007.

Published online by Cambridge University Press:  01 August 2009

George E. Lewis
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Information
Journal of the Society for American Music , Volume 3 , Issue 3 , August 2009 , pp. 365 - 369
Copyright
Copyright © The Society for American Music 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Ross, Andrew, No Respect: Intellectuals and Popular Culture (London: Routledge, 1989), 97Google Scholar.

2 Porter, Eric, What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists (Berkeley: University of California Press, 2002)Google Scholar; von Eschen, Penny S., Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War (Cambridge, Mass.: Harvard University Press, 2004)Google Scholar.

3 Monson, Ingrid, Saying Something: Jazz Improvisation and Interaction (Chicago: University of Chicago Press, 1996)Google Scholar.

4 Lipsitz, George, The Possessive Investment in Whiteness: How White People Profit from Identity Politics (Philadelphia: Temple University Press, 1998)Google Scholar.

5 Cheryl I. Harris, “Whiteness as Property,” Harvard Law Review (June 1993): 1786.

6 Born, Georgina, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley: University of California Press, 1995)CrossRefGoogle Scholar.

7 Saunders, Frances Stonor, The Cultural Cold War: The CIA and the World of Arts and Letters (New York: New Press, 1999)Google Scholar; Beal, Amy C., New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley: University of California Press, 2006)CrossRefGoogle Scholar.

8 Stanyek, Jason, “Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation,” in Fischlin, Daniel and Heble, Ajay, eds., The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue (Middletown, Conn.: Wesleyan University Press, 2004)Google Scholar.

9 Semmes, Clovis E., “The Dialectics of Cultural Survival and the Community Artist: Phil Cohran and the Affro-Arts Theater,” Journal of Black Studies 24 (2005), 447–61CrossRefGoogle Scholar; Nathaniel Sheppard Jr., “How Chicago Red Squad Sabotaged 60's Dissidents,” New York Times, 2 December 1980.

10 Moten, Fred, In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis: University of Minnesota Press, 2003)Google Scholar.