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Thomson / Gale

Deep River: Music and Memory in Harlem Renaissance Thought

African American Review,  Spring, 2003  by Eric Porter

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Readers might also question the effectiveness of Anderson's comparative approach in chapter five. Although he provides a very strong account of jazz criticism in the 1930s, he might have done a more thorough job of detailing how the work of Hammond and Dodge diverged from or was similar to the cosmopolitan musical visions of Du Bois, Locke, and other black aestheticians. One wonders whether foregrounding Ellington's music and New Negro ideals in this chapter instead of saving them for the epilogue would have been a more effective means of showing how conundrums around musical cosmopolitanism resonated in different interpretive and performing communities in the 1930s and beyond.

Still, Anderson's book remains an excellent study of this critical moment in African American intellectual history. His discussion of music in Harlem Renaissance thought is illuminating, and he moves us well beyond the level of analysis that has previously been brought to bear on these conversations. Ultimately, this book identifies a point of origin for many vexing questions that continue to drive research on music today, while simultaneously providing a point of departure for what we can only hope will be equally sophisticated work on other moments in the development of black music criticism.

COPYRIGHT 2003 African American Review
COPYRIGHT 2008 Gale, Cengage Learning