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African American musicians in the 1950s faced a dilemma regarding classical music. A cosmopolitan display of knowledge about modern classical music enabled artists such as Duke Ellington to counter misconceptions that jazz musicians were untutored. Yet jazz musicians' interest in classical music was often taken as an admission that jazz innovations were derived from European sources. After Charlie Parker expressed admiration for Bartók, an interviewer asked if Parker's musical innovations were adaptations of classical predecessors' ideas. Often, comparisons with modern European composers connected jazz to the presumed superior standards of classical music without recognizing that jazz articulated its own musical vision-by developing expressive and improvisational principles rooted in a wide variety of African American musics-that challenged the hegemony of European standards in American music.

Which of the following best characterizes the author's main point about the “comparisons"?

AThey were often adduced to help challenge a view that jazz musicians were untutored in musical traditions other than jazz.
BThey sometimes overlooked the sophistication of African American musical traditions as reflected in the work of jazz innovators.
CThey were more illuminating when applied to the music of Duke Ellington than when applied to that of Charlie Parker.
DThey often served to clarify a particular hierarchy among musical traditions that had previously been neglected.
EThey helped bring to light the historical richness of a musical tradition that had previously been undervalued.

B显示答案

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