INTEGRATION WITHOUT PREJUDICE?
Unlike “folk,” which never recovered its pure identity after the infusion of rock, jazz (or rather, some eminent jazz musicians) recoiled from “fusion” into a purism comparable to that of academic modernism. This recoil mirrored a larger one within American society. The “melting pot” ideal that saw America as a land offering equal opportunity to all who were willing to shed their ethnic particularities and assimilate (or “integrate”) into the general culture was now widely questioned by minorities and vocally rejected by some of their spokesmen. In its place, many now embraced the principle of multiculturalism (or, in its more strident variants, cultural nationalism), a far less sanguine view that expressed the disillusion of those who, during the turbulent decade of civil-rights violence, concluded that the melting-pot or integrationist ideal was a smokescreen concealing and protecting the interests of the existing white (and Christian, and male) power structure.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 The Sixties." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 9 Dec. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-007007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 The Sixties. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-007007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 The Sixties." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-007007.xml