index
acid jazz (subgenre), 30, 212
“Actual Proof” (Hancock), 213
Adderley, Julian “Cannonball,” 2–3
Adderley, Nat, 61
Adorno, Theodor, 29–30, 53
The Adventures of the Astral Pirates (Wil-
liams), 59
African Americans: afrodiasporic musi-
cal practices and, 29, 54–55, 58, 64,
161, 187, 213–16, 219–20; black intel-
lectual movement and, 146; Black
Panthers and, 114; blaxploitation
films and, 63; commercial impetuses
in music and, 97; Joni Mitchell and,
168–69; love and theft of, 107, 110,
120, 236n45; slavery legacy and, 113;
as target audience, 98; U.S. politi-
cal universalism and, 37–40. See also
black nationalism; genre; race; specific
people and genres
afrofuturism, 7, 11, 26, 59, 184, 187, 213,
220; definition of, 58, 184. See also
Hancock, Herbie
The Age of Rock (anthology), 47
“Alabama Song (Whiskey Bar),” 50
Alias, Don, 153–54, 174, 176
Allman, Duane, 29
Allman Brothers Band, 2, 29
“All My Loving” (Beatles), 45
alterity, 165–66, 168, 182. See also
African- Americans; First Nations;
gender; race
American Bandstand (show), 93
American Quarterly (publication), 47
American Scholar (publication), 47
Anderson, Chester, 46
Anderson, Iain, 42, 44
Anderson, Ian, 108
Anderson, Jon, 137
Anderson, Roberta Joan. See Mitchell,
Joni
Ansermet, Alexander, 99
Antonioni, Michelangelo, 191
Arkestra, 115
Armstrong, Isobel, 8–9
Armstrong, Louis, 234n13, 247n52
Arom, Simha, 25
Asleep at the Wheel (group), 31
The Association (group), 104
Association for the Advancement of
Creative Music, 115
Atkins, Chet, 83
audience expectations, 16–17, 231n22;
Charles Mingus and, 170; class and,
20, 30; fusion’s resistance of, 26, 83,
100–101, 111, 131; Herbie Hancock
and, 204–10, 215; race and, 25, 48,
91–92, 100; rock’s listening practices
and, 51, 93–94. See also specific genres
and artists
authenticity (of musicians and genres),
5, 9, 24, 61, 86, 104, 136, 157, 168,
188, 194, 209, 227
The Avant- Garde (Coltrane), 41
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