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Book Chapter

What is “Great Black Music”?: The Social Aesthetics of the AACM in Paris

By

Eric Lewis

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Doi:

https://doi.org/10.1215/9780822374015-007

Published:

March 2017

This chapter situates the performance practices of the AACM in general, and the Art Ensemble of Chicago in particular, within the modernism-postmodernism dichotomy. It shows how the AACM foregrounds the elasticity and overlap of these “movements” and problematizes them. Drawing on characteristics of both traditions, the AACM throws into stark relief the issues at play that follow from positioning oneself as music creator, consumer, or critic from either the modernism or the postmodernism camp. By recognizing that these categories themselves operate as genre terms, the author demonstrates how the AACM aesthetically thickens its works/performances by inviting their analysis from both perspectives while simultaneously critiquing them. This act of genre thickening is then compared with the goal of art as promoted by those who advocate relational aesthetics, revealing a manner in which AACM practices have a social dimension that is internal to their very status as art practices.

Association for the Advancement of Creative Musicians, Paris, music, modernism, postmodernism, May 1968

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Figures & Tables

Improvisation and Social Aesthetics

Improvisation, Community, and Social Practice

Improvisation and Social Aesthetics

Edited by

Duke University Press

DOI:

https://doi.org/10.1215/9780822374015

Copyright:

This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved.

ISBN electronic:

978-0-8223-7401-5

Publication date:

2017

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