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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.

The author would be most likely to agree with which of the following assertions about the "misconceptions"?

A.A. They were fostered by those who assumed that innovations in jazz reflected the influence of European classical composers.
B.B. They were inadvertently perpetuated by some jazz musicians who expressed admiration for classical composers.
C.C. They were particularly prevalent among listeners who were familiar with jazz but not with European classical music.
D.D. They were incompatible with a thorough understanding of many jazz musicians' musical backgrounds.
E.E. They were beginning to wane by the time that Duke Ellington emerged as a prominent figure in the world of jazz.

C显示答案

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