Poetry and Music

I - Poetry and Music

Published online by Cambridge University Press: 10 November 2022

Edited by

Shelly Eversley

Show author details

Shelly Eversley: Affiliation:
Baruch College, The City University of New York

Book contents

Get access

Summary

A summary 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: Chapter
Information: African American Literature in Transition, 1960–1970
Black Art, Politics, and Aesthetics
, pp. 21 - 116

DOI: https://doi.org/10.1017/9781108386043 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2022

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

Primary Sources

Secondary Sources

Anderson, I. 2007. This Is Our Music: Free Jazz, the Sixties, and American Culture. Philadelphia: University of Pennsylvania Press.Google Scholar

Brown, M. 1973. Afternoon of a Georgia Faun: Views and Reviews. Nia Music.Google Scholar

Brown, M. 1984. Recollections: Essays, Drawings, Miscellanea. Frankfurt: Juergen A. Schmitt.Google Scholar

Cortez, J. 1996. “How Long Has Trane Been Gone.” In The Norton Anthology of African American Literature, ed. Gates, H. L., Jr., and McKay, N. Y., 1957–59. New York: W. W. Norton & Co.Google Scholar

DeLanda, M. 2006. A New Philosophy of Society: Assemblage Theory and Social Complexity. London: Continuum.Google Scholar

Gayle, A., Jr. 1971. The Black Aesthetic. New York: Doubleday.Google Scholar

Gennari, J. 2006. Blowin’ Hot and Cool: Jazz and Its Critics. University of Chicago Press.Google Scholar

Isoardi, S. 2006. The Dark Tree: Jazz and the Community Arts in Los Angeles. Berkeley: University of California Press.Google Scholar

Jones, L. 1967. Black Music. New York: William Morrow.Google Scholar

Kofsky, F. 1966, January. “The Avant-Garde Revolution: Origins and Directions.” Jazz: 14–19.Google Scholar

Kofsky, F. 1967. “A New World Music? An Interview with Roswell Rudd.” American Dialog 4.1 (Spring): 33–36.Google Scholar

Kofsky, F. 1970. Black Nationalism and the Revolution in Music. New York: Pathfinder Press.Google Scholar

Kofsky, F. 1973. “Black Nationalism and the Revolution in Music: Social Change and Stylistic Development in the Art of John Coltrane and Others, 1954–1967.” PhD dissertation, University of Pittsburgh.Google Scholar

Kofsky, F. 1998a. Black Music, White Business: Illuminating the History and Political Economy of Jazz. New York: Pathfinder Press.Google Scholar

Kofsky, F. 1998b. John Coltrane and the Jazz Revolution of the 1960s. New York: Pathfinder Press.Google Scholar

Lewis, G. E. 2008. A Power Stronger than Itself: The AACM and American Experimental Music. University of Chicago Press.Google Scholar

Mathes, C. 2015. Imagine the Sound: Experimental African American Literature after Civil Rights. Minneapolis: University of Minnesota Press.Google Scholar

Monson, I. 2007. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford University Press.Google Scholar

Neal, L. 1968. “The Black Arts Movement.” The Drama Review 12.4 (Summer): 28–39.Google Scholar

Nisenson, E. 1995. Ascension: John Coltrane and His Quest. New York: Da Capo Press.Google Scholar

Porter, E. 2002. What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press.Google Scholar

Shepp, A. 1965, December 16. “An Artist Speaks Bluntly.” Down Beat: 11, 42.Google Scholar

Trotsky, L. 1960. Literature and Revolution. Ann Arbor: University of Michigan Press.Google Scholar

Widener, D. 2010. Black Arts West: Culture and Struggle in Postwar Los Angeles. Durham, NC: Duke University Press.Google Scholar