Kapitel in diesem Buch

1. Frontmatter i
2. Contents ix
3. Foreword xi
4. Acknowledgments xv
5. Introduction: Who Hears Here Now? 1
6. 1. Cosmopolitan or Provincial? Ideology in Early Black Music Historiography, 1867–1940 14
7. 2. Who Hears Here? Black Music, Critical Bias, and the Musicological Skin Trade 43
8. 3. The Pot Liquor Principle: Developing a Black Music Criticism in American Music Studies 90
9. 4. Secrets, Lies, and Transcriptions: New Revisions on Race, Black Music, and Culture 102
10. 5. Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music 117
11. 6. Afro-Modernism and Music: On Science, Community, and Magic in the Black Avant-Garde 133
12. 7. Bebop, Jazz Manhood, and “Piano Shame” 155
13. 8. Blues and the Ethnographic Truth 164
14. 9. Time Is Illmatic: A Song for My Father, A Letter to My Son 182
15. 10. A New Kind of Blue: The Power of Suggestion and the Pleasure of Groove in Robert Glasper’s Black Radio 191
16. 11. Free Jazz and the Price of Black Musical Abstraction 199
17. 12. Jack Whitten’s Musical Eye 207
18. 13. Out of Place and Out of Line: Jason Moran’s Eclecticism as Critical Inquiry 214
19. 14. African American Music 219
20. Onward: An Afterword 246
21. Notes 249
22. Index 285