The idea of African American music and hipness as cultural critique has detached itself over the past from the circulated internationally, particular historical context of bebop; it has inspired many young generations of white people to adopt both the style of hipness, which have shifted to changes in sartorial style, and African American musical, and the social attitude that hipness has been trying to signify (Lott 216).
Indeed the idea of a subcultural resistance and politics of style has been central to cultural studies, including classic Subculture: “The Meaning of Style. There has been a struggle over meaning in jazz that we have learned in class and from my group wiki. I will show you the similarities between what we learned in class from Scott Devaux and Bernard Gendron and my cartoon group wiki and Ashley’s wiki such as, races, sex gender and music style. Race is the aspect of a struggle over meaning of jazz that our group wiki have focused on as same as the article from Scott Devaux. For example, “White Hipness”, is about the interrelationships among the gender, class, music, and social diversity of African American.
“African-American gospel music is a major influence in nearly all genres of modern popular music, from rhythm ‘n blues to jazz, from soul to rock ‘n roll. The musical genre is a unique expression of the black experience in America? The emotionally-charged, wailing vocals and syncopated rhythms give the music a distinctive style. The singing is accompanied not only by instrumentals, but often also ...
White people symbolizes African Americans as a sexual freedom, social conscience, and resistance to the dominant order in the imagination of white Americans. White Americans have confused the most “transgressive” aspects of the culture of African American with its true character, they fall into the trap of viewing blackness as absence. The view of blackness falls into its concomitant exoticism and the legacy of historical primitivism of “the other”, whether conceived as an absence of bourgeois pretensions or morality (Scott 298).
After I learned the idea of race and gender from Scott and Vera’s wiki, I think the intersection of racial stereotypes and gender in the concept of hipness deserves more attention: for the “subcultural” image of bebop was nourished by a conflation of the music with a style of black masculinity that held, great appeal for white musicians and audiences. In my opinion, I think that the frequency with which white musicians emulated the style on their African American heroes has received much comment; the question is whether white identification with jazz has been primarily a “dialectic of misrecognition and identification. We also learned from the article of Scott Devaux in class about the sex and gender. Moreover, Vera’s wiki also discusses how white people interact with sex and gender that relates to black people in the 1920s. African American musicians generally have come to symbolize sensual intensity, and emotional depth, white people must examine the logic of race and gender that has shaped their understandings of African American culture and music (Scott 302).
The intersection of race and gender in music increases important problems for people who interested in culture and gender difference.
Scott Devaux research is one of the most successful interpretations of gender, sexuality, and race. For example, when sexuality is conceived as an instinct, more expressive sexual cultures are presumed to be more primitive. According to Vera’s wiki, I think the issue from an anthropological perspective on a theory of sexual desire could lead us to a better understanding of the ships among gender, race, and sexuality (Scott 398).
In term of music and style Ashley’s wiki does a really good job to support Bernard Gendron’s argument on the “traditional versus modern”.
Round Midnight The movie Round Midnight, directed by Bertrand Tavernier, is a very well reflected portrayal of the jazz scene, as it was known in the late fifties. The main character and protagonist of the movie, Dale Turner who is played by Dexter Gordon, leaves New York to go to Paris. Dale leads the audience through the ups and downs of being a working jazz musician. The struggles of business, ...
They both think it must be understood within the debate about swing in the early forties versus New Orleans jazz. The “moldy figs,” as the advocates for older jazz were called, denounced swing as “modern,” commercialized music. Later on, bebob and swing jazz musicians were reunited again in their disdain for the “traditionalists” (Gendron 130).
While bebop became more controversial, however, battle lines were drawn between the musicians both swing and bebop as well. Gendron addresses that, there are two main aspects to the concept of “modern” among jazz fans and musicians.
First they use the word to describe artistic and structural elements of the music. For example, the use of flatted fifths, the interjection of rhythmic bombs into the texture of rhythm, the whole-tone scales, complicated re-harmonization of popular tunes, rhythmic articulation and phrasing, technical virtuosity and really fast tempos: these were among musical style called as “modern” by the jazz press and musicians (Gendron 131).
The second aspect has to do with the meaning of “modern” in relation to social and political opposition to racial discrimination in the world of entertainment.
Young “modern” generations of musicians sought not only to change the sound of jazz, but to reject the legacy of the minstrel mask by emphasizing “art” instead of “entertainment”(Gendron 132).
In conclusion, the conflation of modern artistic and musical traits with the modern struggle segregation against and racial discrimination characterizes the r meaning of “modern” within the jazz community. As you can see there has always been a struggle over a meaning of jazz in the past whether or not who truly understood the true jazz.
According to the article from both Scott, Gendron, and our group wiki, we have gained so much information of how people view and interact with the African American musicians, also how the black people try to use music to gain more acceptance from the society. Moreover, Ashley’s wiki also supports Gendron’s argument on the bebop and the style of jazz as well as creates a really good example of the two main aspects of the concepts of modern jazz.
"Jazz is America's classical music," according to Dr. Billy Taylor, and while still rooted in the African-American experience, it is truly an international phenomenon. Jazz is a kind of music in which improvisation is typically an important part. In most jazz performances, players play solos which they make up on the spot, which requires a considerable amount of skill. There is tremendous variety ...