Bøger af Harald Kisiedu

Composing While Black presents unique new perspectives on Afrodiasporic contemporary composers active between 1960 and the present, a period that academic inquiry, concert programming, and journalistic accounts have largely ignored up to now, particularly in Europe. This interdisciplinary essay collection engages with opera, orchestral, chamber, instrumental, and electroacoustic music, as well as sound art, conceptual art, and digital intermedia, revealing Afrodiasporic new music as an intercultural, multigenerational space of innovation that offers new subjects, histories, and identities."Composing While Black is a brilliant collection of essays on the black presence in contemporary Classical music. From the poignant and richly resonant title through the editors' authoritative historical introduction to the mix of reflection, anecdote, analysis, and study of the compositional process across nine essays, the book illuminates black creativity on terrain previously figured as white. Timely, informative, and challenging, this bilingual text is a must-read for anyone interested not only in the work of Afrodiasporic composers but in the reach of the very notion of the contemporary itself." KOFI AGAWU The Graduate Center, City University of New York"What an essential book this is: an invigorating corrective packed with bright sounds, big musical personalities and astute social context. The introduction alone is a terrific primer; the chapters are vivid case studies written with fresh and authoritative clarity. Above all, the music of this book demands to be heard. Its pages will send you down countless avenues of discovery and fill whole notebooks with names, ideas and intersections to pursue - the greatest thrill." KATE MOLLESON, author of Sound Within Sound: Opening Our Ears to the 20th Century.

This book is a historical and interpretive study of the movement of jazz experimentalism in West and East Germany between the years 1950 and 1975. It complicates the narratives advanced by previous scholars by arguing that engagement with black musical methods, concepts, and practices remained significant for the emergence of the German jazz experimentalism movement. In a seemingly paradoxical fashion, this engagement with black musical knowledge enabled the formation of more self-reliant musical concepts and practices. Rather than viewing the German jazz experimentalism movement in terms of dissociation from their African American spiritual fathers, this book presents the movement as having decisively contributed to the decentering of still prevalent jazz historiographies in which the centrality of the US is usually presupposed. Going beyond both US-centric and Eurocentric perspectives, this study contributes to scholarship that accounts for jazz's global dimension and the transfer of ideas beyond nationally conceived spaces.