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Sounds of Dissent: Sonic Representat...

Aldridge, James.

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Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz./
Author:	Aldridge, James.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	266 p.
Notes:	Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
Contained By:	Dissertations Abstracts International84-09A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30360097
ISBN:	9798371914866

Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz.
Aldridge, James.

Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 266 p.

Source: Dissertations Abstracts International, Volume: 84-09, Section: A.

Thesis (Ph.D.)--Case Western Reserve University, 2023.

Jazz historians and scholars interested in the resistive practices of disadvantaged communities have mined the 1960s Free Jazz movement time and again for anti-institutional, counterhegemonic acts committed by canonic jazz figures. Generally speaking, these acts fall into two categories: (1) overt political "speech" - e.g. published social critique, programmatic music with distinct political messages, musicians' manifestos, etc.; and (2) covert "political" music - i.e., experimental music that seems or sounds as though it is inspired by political interests, attitudes, or agendas. Recently, jazz scholars - among them Ingrid Monson (2007, 160) and Clay Downham (2018, 6) - have cautioned against category two because it involves conjecture. At its best, they argue, it is inferential and speculative; and at its worst, it is essentialist and based on the harmful assumption that experimental music is necessarily political if it comes from a disenfranchised community of performers.{A0}Absent from this critique, I argue, is the acknowledgment that it is possible to identify resistance, defiant intentionality, and countercultural purpose in jazz's sounding content, provided there is evidence that it exploits weaknesses, loopholes, and ambiguities in the genre's organizing paradigms and traditions. In this dissertation, I identify strategies, stratagems, and procedures used by 1960s jazz musicians to overcome these burdensome, and in some cases oppressive, aesthetic traditions (e.g. "acceptable" sound palettes, "tolerable" instrumentations, and "respectable" styles). Moreover, I argue that key avant-gardists - among them Ornette Coleman, John Coltrane, and Eric Dolphy - engaged in resistive musical practices rooted in clever, cautious repurposings and defiant misreadings of core jazz concepts in order to secure new aesthetic freedoms and expand the genre's body of tolerated sounds.{A0}

ISBN: 9798371914866Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Jazz

Sounds of Dissent: Sonic Representations of Resistance in 1960s Free Jazz.
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