为什么叫拉丁爵士乐?非洲-拉丁爵士,非洲-古巴爵士,古巴爵士乐,加勒比爵士,爵士拉丁,或只是…爵士乐

Christopher Washburne
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引用次数: 0

摘要

本章探讨了拉丁爵士乐是如何定位和命名的,以及与该流派相关的主要话语争论。特别关注的是音乐家如何通过操纵通用边界作为谈判工具来发挥代理作用。本文以两位杰出的乐队领袖阿图罗·奥法里尔和雷·巴雷托为案例,探讨了体现主体性复杂的话语策略,并作为跨文化生产的基本政治基础的一个镜头。显而易见的是,音乐家们所持有的关于如何标记和演奏这种音乐的自我构想的概念,在本质上既不是静态的,也不是终末的,而是必须被想象成流动的,流畅的,多变的,总是战略性的,有时甚至看起来善变的。所揭示的是这种音乐的创造者所参与的摇摆的,自我定位的话语,为了在这种有时敌对的环境中导航和战略性地定位自己。地域政治、民族政治、阶级政治、经济政治、种族政治,以及复杂的历史关系,构成了他们体裁想象的流动舞蹈。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Why Call It Latin Jazz? Afro-Latin Jazz, Afro-Cuban Jazz, Cubop, Caribbean Jazz, Jazz Latin, or Just . . . Jazz
This chapter explores how Latin jazz is positioned and named and the primary discursive contestations associated with the genre. What is focused on in particular is how musicians exert agency by manipulating generic boundaries as a negotiative tool. With a focus on two prominent bandleaders as case studies, Arturo O’Farrill and Ray Barretto, discursive strategies embodying a complex of subjectivities are explored and serve as a lens into the fundamental political undergirding of intercultural production. What becomes apparent is that self-conceived notions held by musicians concerning how to label and perform this music prove to be neither static nor terminal in nature but rather must be imagined as mobile, fluid, and changeable, always strategic, and at times even seeming fickle. What is revealed is the pendular, self-positioning discourse that makers of this music engage in, in order to navigate through and strategically position themselves within this at times adversarial milieu. The politics of place, nation, class, economics, and race as well as the complex historical relationships inform their fluid dance of genre imaginings.
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