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题目材料：
The fact that certain musical qualities were shared by African American and White jazz musicians in the mid-1950s was sometimes explained by claiming that jazz was "color-blind." Yet a look at how the discourse of color blindness was deployed in 1950s jazz periodicals helps explain why many African American jazz musicians began to emphasize differences, rather than similarities, between the aesthetic styles of Black and White Musicians. The discourse of “color blindness" tended to exaggerate the permeability of racial boundaries by failing to address the power relationships involved in a social climate where evasiveness about race was often used to silence African American perspectives on the meaning of jazz. While the expression of color-blind sentiments was not necessarily disingenuous, structural racial stratification remained powerful beyond the bandstand.
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