Bennington College

Bill Dixon Interview

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dc.date.accessioned 2016-08-18T16:08:05Z
dc.date.available 2016-08-18T16:08:05Z
dc.date.issued 1975-05-15
dc.identifier.uri http://hdl.handle.net/11209/10294
dc.description.abstract Topics: Part One History of Black Music in United States, George Gershwin, the popularity of jazz in Europe, the role of historians and critics in art, writing and conducting a score for a United States Information Agency film in 1967 (The Wealth of a Nation, produced and directed by William Greaves) the Black esthetic, improvisation. “…in the West, we have come up with the idea that like, composition as we define it, is the highest order and improvisation has to come less than that. Now we know that Bach, Beethoven, Haydn, Mozart were all incredible improvisers, we know that from history, you know, because the music, before people became so caught up with notation, that was the way people did music. The way improvisation has functioned in Black Music, it has not been an adjunct, it’s been the music.” Topics: Part Two His work at the United Nations, musical influences, writing music, the role of Black Music in academia, the nature of art, and his teaching philosophies. “I have sort of fantasized and said that like for every society that has an overt musical display there must people in the society like I am in this one, that functions in another way, without the endorsement of the society.” Part Two Topics: His work at the United Nations, musical influences, writing music, the role of Black Music in academia, the nature of art, his teaching philosophies. Topics: Part Two: “I have sort of fantasized and said that like for every society that has an overt musical display there must people in the society like I am in this one, that functions in another way, without the endorsement of the society.” en_US
dc.language.iso en_US en_US
dc.subject sound recording
dc.subject audio recording
dc.title Bill Dixon Interview en_US
dc.type Recording, oral en_US


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