In the early 1950s, American jazz entered a phase of artistic blossoming that was accompanied by widespread popularity and unprecedented cultural influence. By the late 1960s, however, this “second jazz age” had come to an end. This article draws on two approaches within cultural sociology to explain the historically specific cultural force of jazz: it follows American sociologist Howard S. Contoh soal tes toefl dan pembahasan pdf merger. Becker’s method of reconstructing “art worlds,” i.e., the networks of cooperation that include the institutional structures of marketing and distribution. In the jazz art world, the article suggests, sound becomes intermedially embedded in visual culture and textual repertoires. The essay also follows German sociologist Andreas Reckwitz, whose history of creativity allows for interpreting the impact of the jazz art world as a chapter in the rise of a creativity dispositif. In particular, this essay focuses on the photographic and illustrative work artists like William Claxton and Andy Warhol created for the newly emerging format of the record cover. ![]() The visual art of jazz helps account for jazz’s ability to transport artistic hipness from the enclave of modernist art into the everyday. • 1 This narrative can be traced back to Marshall Stearns’s The Story of Jazz (1956). For a critical pe • 2 Graham Lock and David Murray write that “close links between African American painting and music ha 1 Jazz is usually considered a musical genre with its own history, consisting of stylistic innovations and developments that range from New Orleans jazz of the early twentieth century to various forms of fusion and jazz rock of the 1970s and beyond. The historical trajectory leads from folk art to commercial popular culture, onward to modernist high art, and finally to pluralized eclecticism. But next to this view of jazz as a musical and artistic evolution, there has for a long time been an alternative perspective that embeds jazz in a spectrum of African American cultural expression. Discover releases, reviews, track listings, recommendations, and more about The Chet Baker Quintet - Smokin' With The Chet Baker Quintet at Discogs. Complete your The Chet Baker Quintet collection. The result is buy and sell signals you can count on. From that perspective, jazz is part of a “black aesthetic” or “blues aesthetic,” which runs through African American painting, dance, photography, literature, and even architecture. • 5 I have Americanized the spelling of the English translation of Reckwitz’s book for the sake of cons 9 Reckwitz argues that since the eighteenth century, Western societies have undergone a process of social aestheticization. As part of this process, the aesthetic—by which Reckwitz means neither aesthetic categories like the beautiful, nor sense perceptions in general (as denoted by the classical term aesthesis ), but rather “perception [that] is an end in itself and refers to itself” (11)—became tied to novelty, and innovation itself increasingly took an aesthetic form: “the creativity dispositif reorients the aesthetic towards the new while at the same time orienting the regime of the new towards the aesthetic” (9). The bundling of both of these terms ought not to be taken for granted. Historically, aesthetics has often been unrelated to the new (for instance, in the everyday aesthetics of ritual) and innovation has long been regarded as a rational process that is adverse to sense perceptions for their own sake (for instance, in technological innovation). Reckwitz thus charts the historical process by which the joint focus on the new and aesthetic traveled from marginal niches—particularly in the field of art—to the center of social organization, ultimately reaching the point where it became a systemic social organizing principle.
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